by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Page Created on August 30, 2026 / Page Updated on November 6, 2026
Email: tomgurney1@gmail.com / Phone: +44 7429 011000
Ophelia among the Flowers: Introduction
Odilon Redon's Ophelia among the Flowers does not show a drowning as an event. It offers a pale profile, a dense flowering mass and a blue-green interval that might be water, air or dream-space. The heroine of Shakespeare's Hamlet is recognisable, yet the picture refuses to say whether she is sleeping, dying, dead or remembered. Made in pastel on paper about 1905–08, this wide, luminous work turns a familiar tragedy into an image of suspension.[1]
At a Glance
- ArtistOdilon Redon (1840–1916).
- DateAbout 1905–08, not a securely documented single year.[1]
- MediumPastel on paper; approximately 64.5 × 91 cm.[1]
- SubjectOphelia, the doomed young woman in Shakespeare's Hamlet, surrounded by flowers.
- CollectionNational Gallery, London; inventory number NG6438.[1]
- Essential effectA horizontal field of brilliant colour holds Ophelia between sleep, death and reverie without resolving which state we see.
Odilon Redon in context
Eye-Balloon
1878Closed Eyes
1890Ophelia among the Flowers
c. 1905–08The Chariot of Apollo
1905–16Pandora
1910/12The Cyclops
c. 1914Contents
- Introduction
- Begin with the Profile at the Lower Right
- A Flower Field Rather than a Botanical Inventory
- Is the Blue-Green Space Water?
- Shakespeare Remembered, Not Illustrated Line by Line
- Pastel Builds the Dream
- Colour, Music and Indeterminate Space
- Sleep, Death and Reverie
- Provenance and the National Gallery
- Why Ophelia among the Flowers Matters
Begin with the Profile at the Lower Right
The eye may first be caught by the red and blue flowers, but Ophelia occupies the painting's quietest and most precarious position. Her head lies close to the lower-right edge. Redon shows it in profile, tilted backwards, with the eyelid shut and the chin raised. The complexion is muted ochre rather than lifelike pink. A few red strokes articulate the mouth and neckline; small white blossoms touch the dark hair. Almost none of her body is available to stabilise the pose.
That marginal placement matters. In many narrative paintings a protagonist commands the centre, and the surrounding landscape explains what is happening. Here the heroine is pushed towards the border while colour expands away from her. She could be entering the image, disappearing from it or existing at the edge of consciousness. The National Gallery describes the head as suspended or perhaps floating, language that preserves the uncertainty visible in the work.[1]
Now let the gaze move leftward. A broad blue-green zone passes behind the profile, then meets a crowded vertical growth of leaves and blooms. Red circles dotted with light, blue leaf-like forms, pale clusters and dark tangled passages build a visual thicket. Beyond them are ochre, grey and pink clouds of pigment. At far right a steep brown shape resembles a cliff or mountain, but it provides no measurable distance. The broad paper encourages a journey across distinct zones rather than a single fixed focal point.
The National Gallery's slow-looking invitation is useful here because this is a work whose relationships emerge over time.[2] From across a room, face and flowers read as two large masses separated by haze. Closer inspection breaks those masses into contour, hatching, smudged powder and exposed ground. Moving between those distances makes the subject appear, loosen and re-form.
A Flower Field Rather than a Botanical Inventory
Flowers dominate the composition, yet they do not behave like a carefully catalogued riverbank. Some forms suggest leaves, berries or particular kinds of bloom, while others are no more than coloured discs, sparks and knots of pastel. Swift dark outlines give selected shapes definition; elsewhere, marks dissolve into one another. The National Gallery calls the design almost abstract and identifies complementary colour contrasts—orange against ultramarine, and reds and pinks beside greens—as a source of its glow.[1]
The title makes the flowers inseparable from Ophelia, but it does not impose one symbolic key. In Shakespeare's tragedy she distributes plants and speaks of their associations before her death, and Queen Gertrude later describes her making garlands beside a stream. Redon retains the bond between heroine and flowers while omitting a literal inventory, a clearly rendered willow and the sequence of the fall. It would therefore be risky to assign every red, white or blue mark a fixed meaning. The blooms can suggest beauty, transience, memory and burial without becoming a code that solves the picture.
Their visual energy also reverses an expected hierarchy. Ophelia's face is drained of strong colour, whereas the vegetation seems intensely alive. Red, turquoise, cobalt and green gather around her like an autonomous force. The flowers may garland her, engulf her or seem to arise from the same indefinite medium in which she floats. Redon makes their abundance both consoling and unsettling: colour celebrates vitality beside a heroine known through loss.
Is the Blue-Green Space Water?
Knowledge of Hamlet encourages viewers to see water in the large blue-green passage. A dark band along the bottom can resemble a surface or bank, and the horizontal format allows the head to seem buoyed across it. One National Gallery account explicitly reads Ophelia as floating in water.[1] Yet the painting supplies no firm shoreline, current, reflection or continuous surface. Blue and green also spread upward like atmosphere, while flowers hover rather than grow from a securely located bed.
The most accurate answer is therefore conditional. Water is a persuasive interpretation because of the subject and the visual cues, but Redon leaves the setting indeterminate. That refusal turns physical location into a psychological and poetic interval. Ophelia is neither convincingly submerged nor plainly resting on land. The uncertainty makes the viewer experience the pause between possible states rather than observe a fully described accident.
This open space links the work to Redon's wider Symbolist imagination. He repeatedly began with recognisable material—a flower, an eye, a literary name—and placed it within a setting whose scale and substance could not be secured. Here a Shakespearean subject gives the image a narrative gravity, but the absence of ordinary depth lets colour and association determine the encounter.
Shakespeare Remembered, Not Illustrated Line by Line
The subject comes from Hamlet, but Redon does not reproduce one exact line as though designing a stage set. Ophelia is distressed by her father's death and Hamlet's rejection; later, Gertrude reports that she drowned while gathering and hanging garlands. The death occurs offstage and reaches the audience through speech. Redon's picture likewise works through evocation rather than demonstrated action, but that parallel should not be mistaken for proof that he selected a single instant in the report.
The National Gallery places the work within a long nineteenth-century fascination with Ophelia and notes two precedents known to Redon. Eugène Delacroix treated her death and made lithographs after scenes from Hamlet. John Everett Millais rendered the drowning heroine amid closely observed river plants; Redon saw Millais's Ophelia when he visited London in 1895. Against that descriptive fullness, Redon's response is radically compressed: one head, a flowering eruption and space without reliable scale.[1]
The comparison clarifies what Redon omits. There is no outspread body, detailed costume, moving stream or landscape studied with botanical precision. Nor is there an actor's gesture that identifies a dramatic climax. Instead, Ophelia becomes a profile with closed eyes, a form Redon could place in the same imaginative territory as dreamers, saints and mythic figures. Literature supplies identity and emotional pressure; the pastel becomes independent of the story's chronology.
Redon returned to Ophelia more than once between about 1900 and 1908.[1] The Art Institute of Chicago, for example, holds a different pastel titled Ophelia, dated 1906 and made on blue-grey wove paper.[5] That work is a comparator, not another name for the National Gallery sheet. Its date, support, measurements and ownership must not be transferred to NG6438. Repetition allowed Redon to reconsider a theme; it did not turn separate objects into interchangeable versions of one record.
Pastel Builds the Dream
Pastel is not merely the means by which Redon added bright colour. It shapes the uncertainty of the scene. Dry particles sit on the paper and absorb light, producing a matte, powdery surface related to charcoal. Musée d'Orsay research stresses this continuity: Redon's shift from black to colour was gradual, charcoal remained in many pastels, and layered lines or hatching could make colour vibrate.[3] His paintings and pastels are better understood as an expansion of earlier methods than a simple exchange of darkness for brightness.
In Ophelia among the Flowers, different actions remain legible. Black or blue contours loop rapidly around leaves. Red forms are punctured by lighter touches. A cloud of turquoise is rubbed into a broad, soft veil, while the face is modelled through thin ochre and shadow. Some passages look densely worked; others permit the paper's tone and the grain of the medium to participate. The surface alternates between drawn sign and coloured atmosphere.
These variations prevent a stable separation between figure and setting. The outline of the profile is clear enough to recognise, but haze passes close around it. Flowers have firmer edges in one area and dissolve into dark matter in another. Pastel can describe and dematerialise within a few centimetres. Redon's technical choices therefore produce the central ambiguity rather than merely decorating it.
The medium's fragility also changes how the work is encountered. Pastel particles can be vulnerable to touch and vibration, and Redon paid particular attention to framing; Orsay notes that he stopped using fixative after 1912 because it could alter colour and flatten the pigment's bloom.[3] That later decision should not be projected as a documented recipe for this earlier sheet. It does, however, explain why the powdery surface, protective glazing and museum conditions matter when seeing Redon's pastels in person.
Colour, Music and Indeterminate Space
The most intense hues do not model a coherent three-dimensional world. They operate in intervals: blue answers orange, red presses against green, and a pink cloud echoes the warmer notes around Ophelia. The eye moves through recurrence and contrast much as an ear follows a musical phrase. The National Gallery connects the pastel's glowing, nearly abstract organisation with Redon's belief that visual art could occupy an ambiguous realm comparable to music.[1]
That analogy does not mean the colours translate a specific composition. It helps explain how a picture can be structured without telling its story sequentially. Repeated blues bind sky-like haze, leaves and the lower band. Red accents punctuate the floral mass and reappear sparingly at the face. Dark marks provide rhythm and resistance. The arrangement makes feeling cumulative before its possible meanings are named.
Redon's luminous colour developed from the 1890s without erasing the habits of his earlier noirs. Getty's account of his art emphasises the continuing movement between haunting darkness and radiant colour, and between visible nature and an imagined realm.[4] Compared with Closed Eyes, painted in oil in 1890, this pastel is chromatically exuberant. Both works nevertheless isolate a shut-eyed profile against indefinite space. Closed lids become less a sign with one definition than a threshold between outward sight and inward experience.
Sleep, Death and Reverie
Ophelia's identity makes death impossible to forget, but the image does not certify her condition. The closed eye and bloodless complexion can indicate death; the relaxed mouth and upward tilt can also resemble sleep. The surrounding haze encourages the language of dreaming. These readings overlap because Redon carefully withholds the evidence that would make one conclusive.[1]
“Reverie” is especially useful if treated as an effect rather than a diagnosis. The word describes the viewer's experience of an image whose forms drift between states. It does not establish what Ophelia thinks or whether she remains conscious. The pastel invites inward association while protecting the heroine from a single explanatory narrative. She is a literary character, a pale human presence and an element in an arrangement of colour at the same time.
This suspension is one reason the work belongs centrally within Symbolism. Its subject can be named, its materials examined and its historical comparisons documented, yet its meaning arrives through suggestion. Redon does not make uncertainty a lack of decision. He makes it the picture's active condition.
Provenance and the National Gallery
The National Gallery records that the pastel was formerly in the Albert D. Lasker Collection in the United States. It was bought from Marlborough Fine Art in 1977 with assistance from the National Art-Collections Fund, now the Art Fund, and entered the collection as NG6438.[1] The museum also flags incomplete provenance for the years 1933–45, an important limit in the currently published history rather than a gap to fill by assumption.
The work is in the National Gallery's main collection in London. Gallery placement and display can change, so visitors should consult the museum's current object record before travelling. A digital image conveys the horizontal design and colour relations, but the original's matte grain, delicate transitions and physical scale are best judged in front of the pastel.
Why Ophelia among the Flowers Matters
This work condenses several of Redon's lasting achievements. It transforms a famous literary subject without merely retelling it. It uses pastel as both drawing and colour atmosphere. It makes flowers carry visual force without reducing them to a symbolic glossary. Above all, it lets a precisely placed head remain suspended in a place that cannot be fully named.
The result is not evasive. Redon gives viewers enough to recognise Ophelia and too little to close her story. Between the vivid flowers and the pale profile, life and death are held in the same luminous field. That unresolved relation is the work's emotional power.
Researched works directory
This searchable evidence census was assembled from public museum records and a reproducible Wikidata snapshot. It is not a catalogue raisonné, a claim to complete oeuvre coverage, or a substitute for Alec Wildenstein's printed catalogue, which was not consulted for this directory.
| Name | Date | Medium |
|---|---|---|
| A La Vieillesse (To Old Age) | 1886 | |
| A Madman in a Dismal Landscape | 1885 | |
| A Woman Reading a Book or Reading | 1914 | Painting |
| Allégorie : un arbre rouge non rougi par le soleil | 1905 | Painting |
| Alsace | 1914 | Painting |
| Andromeda | 1907 | Painting |
| Andromeda | 1912 | Painting |
| Andromeda enchained | 1905 | Painting |
| Anémones | Date unknown | Painting |
| Anemones and Tulips | 1902 | Painting |
| Animals at the Bottom of the Sea | Date unknown | Painting |
| Antoine: Quel Est Le But de Tout Cela? ... | Date unknown | |
| Apache (Man on Horseback) | Date unknown | Painting |
| Apache (Man on Horseback II) | Date unknown | Painting |
| Apollo | 1905 | Painting |
| Apollo's chariot | 1910 | Painting |
| Apollon vainqueur du serpent Python | 1872 | Painting |
| Apollonius | 1896 | Drawing |
| Apparition | 1905 | Painting |
| Apparition | 1907 | Painting |
| Apres cela je vis descendre du ciel un ange qui avait la clef de l'abime, et une grande chaine en sa main (And I saw an angel come down from heaven, having the key of the bottomless pit and a great chain in his hand) | 1899 | |
| Arabe musicien | 1893 | Painting |
| Arbre dans la lande | Date unknown | Painting |
| Arbre (Tree) | 1892 | |
| Arbres sur un fond jaune | 1901 | Painting |
| Ari | 1898 | |
| Armor | 1891 | Drawing |
| At the Bottom of the Sea | 1905 | Painting |
| Au réveil j’aperçus la Déesse de l’Intelligible au profil sévère et dur [Bij het ontwaken zag ik de godin van het begrijpelijke in een streng en hard profiel], uit de reeks Hommage à Goya. 6 lithographies par Odilon Redon | 1885 | |
| Autoportrait en buste | 1876 | Painting |
| Bain de Venus | 1900 | Painting |
| Barbizon en automne | Date unknown | Painting |
| Baronne de Domecy | 1900 | Painting |
| Baronne Robert de Domecy | 1900 | Painting |
| Barques | 1885 | Painting |
| Barques dans le port | 1880 | Painting |
| Battle with the dragon | 1907 | Painting |
| Beatrice | 1885 | Painting |
| Béatrice | 1897 | |
| Bell-Tower Keeper | Date unknown | Painting |
| Black Sun | 1900 | Painting |
| Bloemstilleven | 1901 | Painting |
| Boqueteau | Date unknown | Painting |
| Bouddha dans sa jeunesse | Date unknown | Painting |
| Bouleaux à Bièvres | Date unknown | Painting |
| Bouquet au vase noir | Date unknown | Painting |
| Bouquet de fleurs | 1900 | Painting |
| Bouquet de fleurs | 1908 | Painting |
| Bouquet de fleurs au mimosa | Date unknown | Painting |
| Bouquet in a Chinese Vase | 1912 | Painting |
| Bouquet of Flowers | 1902 | Painting |
| Bouquet of flowers | 1904 | Painting |
| Bouquet of Flowers in a Green Vase | 1915 | Painting |
| Breton Village | 1890 | Painting |
| Brunnhilde | 1894 | |
| Butterflies | 1910 | Painting |
| C'est le Diable | 1888 | |
| C'est moi, Jean, qui ai vu et qui ai oie ces choses (And I John saw these things and heard them | 1899 | |
| C'etait un voile, un empriente (It was a veil, an imprint) | 1891 | |
| Cain and Abel | 1886 | |
| Caïn et Abel | Date unknown | Painting |
| Caliban, petit monstre ou gnome | 1881 | Drawing |
| Calvary | 1895 | Painting |
| Carnations | Date unknown | Drawing |
| Carton de vitrail | 1911 | Painting |
| Cavalier Galopant (Galloping Horseman) | 1866 | |
| Cellule Auriculaire | 1894 | |
| Cellule Auriculaire (Auricular Cell) | 1894 | |
| Centaur visant les Nues (Centaur aiming at the Clouds) | 1895 | |
| Chaumière bretonne | Date unknown | Painting |
| Chemin près de la mer | Date unknown | Painting |
| Cheval aile (Winged Horse) | 1894 | |
| Cheval cabré sur une cime | Date unknown | Painting |
| Christ | 1887 | |
| Christ and the Samaritan Woman (The White Flower Bouquet) | 1895 | Painting |
| Christ on the cross | 1910 | Painting |
| Ciel couvert sur une lande | Date unknown | Painting |
| Citroen en paprika | 1901 | Painting |
| Cliff Scene | 1895 | Painting |
| Closed Eyes | 1890 | Painting |
| Closed Eyes (Yeux Clos) | 1890 | |
| Colline, près de Royan | Date unknown | Painting |
| Combat équestre | 1910 | Painting |
| Composition à trois personnages (Flagellation ?) | Date unknown | Painting |
| Composition: Flowers | Date unknown | Painting |
| Composition: Flowers without a Vase | Date unknown | Painting |
| Conque marine | Date unknown | Painting |
| Conversation mystique | Date unknown | Painting |
| copie d'après 'La chasse aux lions' de Delacroix | 1865 | Painting |
| Copie d'après 'La Grèce sur les ruines de Missolonghi' de Delacroix | Date unknown | Painting |
| Coquelicots | 1885 | Painting |
| Couverture - Frontispice | 1890 | |
| Crucifixion | Date unknown | Painting |
| Cul-de-Lampe | 1890 | |
| Dans l'Ombre des Gens Pleurent et Prient Entourés d'Autres Qui Les Exhortent | Date unknown | |
| Dans mon rêve, je vis au ciel un visage de mystère | 1885 | |
| Dante and Beatrice | 1914 | Painting |
| De oude Ridder | 1896 | |
| De Strijdwagen van Apollo | Date unknown | Painting |
| Den helige Antonius, bröstbild | 1906 | Drawing |
| Des Fleurs Tombent, et la Tête d'un Python Parait | Date unknown | |
| Des Peuples Divers Habitent Les Pays De L'Océan | Date unknown | |
| Die Kathedrale - 13080 - Bavarian State Painting Collections | 1914 | Painting |
| Druidesse | 1891 | |
| Druidesse | 1892 | |
| Dunes | Date unknown | Painting |
| Edouard Vuillard | 1900 | |
| Een man van het volk. Tekening voor een illustratie in Le Juré van Edmond Picard | 1887 | Drawing |
| Eerbetoon aan Goya | 1895 | Painting |
| Elle Tire de Sa Poitrine une Éponge Toute Noire, La Couvre de Baisers | Date unknown | |
| Elle tire de sa poitrine une eponge toute noire, la couvre de baisers (She draws from her bosom a sponge, perfectly black, and covers it with kisses) | 1896 | |
| Escape to Egypt | Date unknown | Painting |
| Esquisse de vitrail | 1905 | Drawing |
| Et celui qui était monté dessus se nommait la Mort (And his name that sat on him was Death) | 1899 | |
| Et il avait dans sa main droit sept etoiles, et de sa bouch sortait une epee aigue a deux tranchants (And he had in his right hand seven stars; and out of his mouth went a sharp two-edged sword) | 1899 | |
| Et Il Distingue Une Plaine Aride et Mamelonneuse | Date unknown | |
| Et il tombe du ciel une grande etoile ardente (And there fell a great star from heaven burning as it were a lamp) | 1899 | |
| Et l'homme parut, interrogeant le sol d'ou il sort et qui l'attire, il se fraya la voie vers (And Man appeared; questioning theearth from which he emerged and which attracts hi m, he made his way toward somber brightness) | 1883 | |
| Et la-bas l'idole astrale, l'Apotheose (And beyond, the star idol, the apotheosis) | 1891 | |
| Et le diable qui les seduisait, fut jete dans l'etang de feu et de soufre, ou es la b ete et le faux prophete (And the devil thatdeceived them was cast into the lake of fire and brimstone, where the beast and the false prophet are) | 1899 | |
| Et le lia pour mille ans (And bound him a thousand years) | 1899 | |
| Et moi, Jean, Je vis la sainte cite, la nouvelle Jerusalem, qui descendait du ciel, d'aupres de dieu (And I John saw the holy city, new Jerusalem, coming down from God out of heaven) | 1899 | |
| Et Partout ce Sont des Colonnes de Basalte,... La Lumière Tombe des Voutes | Date unknown | |
| ...Et Que Des Vuex Sans Tête Flottaient Comme Des Mollusques | Date unknown | |
| Et un autre ange sortit du temple qui est au ciel, ayant lui aussi une faucille tranchante (And another angel came out of the temple which is in heaven, and he also having a sharp sickle) | 1899 | |
| Etruscan Vase with Flowers | 1905 | Painting |
| étude pour 'La chasse aux lions' d’après Delacroix | 1867 | Painting |
| Eve | 1904 | Painting |
| Evocation of Butterflies | 1910 | Painting |
| Evocation of Roussel | 1912 | Painting |
| Eye-Balloon | 1878 | Drawing |
| Falaise dominant la mer | Date unknown | Painting |
| Fantasia | 1910 | Painting |
| Fantasmagorie | Date unknown | Painting |
| Femme a la torque ornee (Woman with a plumed hat) | 1900 | |
| Femme de Profil (Profile of a Woman) | 1900 | |
| Femme en rouge | 1898 | Drawing |
| Ferme et rochers | Date unknown | Painting |
| Figure | 1901 | Painting |
| Figure cornue | Date unknown | Drawing |
| Figure devant un arbre | 1894 | Drawing |
| Figure portant une tête ailée | 1876 | Drawing |
| Figure, yellow flower | 1901 | Painting |
| Fireplace screen | 1908 | Painting |
| Fishing Boat | Date unknown | Painting |
| Fishing Boats: Memory of Venice | 1908 | Painting |
| Fishing Village, Brittany | 1883 | Painting |
| Five Butterflies | 1912 | Drawing |
| Fleurs | Date unknown | Painting |
| Fleurs dans un paysage de montagne avec visage | Date unknown | Painting |
| Fleurs dans un vase | 1907 | Painting |
| Fleurs dans un Vase bleu | 1903 | Painting |
| Fleurs dans un vase : pivoines | Date unknown | Painting |
| Fleurs des champs | 1906 | Painting |
| Fleurs étranges | 1910 | Painting |
| Flower Clouds | 1903 | Drawing |
| Flowers in a Japanese Vase | 1908 | Painting |
| Flowers in a Vase | 1910 | Painting |
| Flowers in Green Vase | Date unknown | Painting |
| Flowers: Poppies and Daisies | 1867 | Painting |
| Frieze of flowers and berries | 1901 | Painting |
| Frise de fleurs, marguerite rose | 1901 | Painting |
| Frontispiece | 1889 | |
| Gekruisigde Christus | Date unknown | Drawing |
| Geraniums and other Flowers in a Stoneware Jug | 1910 | Painting |
| Grand Bouquet | 1901 | Painting |
| Grand bouquet de fleurs des champs | 1903 | Painting |
| Grand panneau à décor végétal, fond clair | 1901 | Painting |
| Grand tapis de prière | 1908 | Painting |
| Green Death | Date unknown | Painting |
| Grey frieze | 1901 | Painting |
| Groupe de maisons blanches aux toits rouges | Date unknown | Painting |
| Guardian Spirit of the Waters | 1878 | Drawing |
| Hantise (Obsession) | 1894 | |
| Hélène (Ennoia) | Date unknown | |
| Hommage à Goya. 6 lithographies par Odilon Redon | 1885 | |
| Icarus | 1890 | Painting |
| Il Tombe Dans L'Abime, La Tête En Bas | Date unknown | |
| Il y eut aussi des êtres embryonnaires [Er waren ook embryonale wezens], uit de reeks Hommage à Goya. 6 lithographies par Odilon Redon | 1885 | |
| Il y eut des luttes et des vaines victoires (There were struggles and vain victories) | 1883 | |
| Il y eut peut-etre une vision premiere essayee dans la fleur (There was perhaps a first vision attempted in the flower | 1883 | |
| Immédiatement Surgissent Trois Déesses | Date unknown | |
| Initiation to Study—Two Young Ladies | 1905 | Painting |
| J'ai Quelquefois Aperçu Dans Le Ciel Comme Des Formes D'Esprits | Date unknown | |
| Jacob and the Angel | 1907 | Painting |
| Jacob's Struggle with the Angel | 1910 | Painting |
| Jacob Wrestling with the Angel | 1907 | Painting |
| Je Me Suis Enfoncé dans la Solitude. J'habitais L'Arbre Derrière Moi | Date unknown | |
| Je Suis Toujours la Grande Isis! Nul N'A Encore Soulevé Mon Fruit Est Le Soleil | Date unknown | |
| Je t'adore a l'egal de la voute nocturne. O vase de tristesse, o grande taciturne (I adore you as I adore the vault of the night sky, O vessel of sadness, O tall silent woman) | 1890 | |
| Jésus et la Samaritaine | Date unknown | Painting |
| L'Aile impuissante n'eleva point la bete en ces noirs espaces (The impotent wing did not lift the animal into that black space | 1883 | |
| L'Aile (The Wing) | 1893 | |
| L'ange déchu | 1875 | Painting |
| L'ange guerrier | 1900 | Painting |
| L'apparition | Date unknown | Painting |
| L'Araignée souriante | 1881 | Drawing |
| L'Arbre | Date unknown | Painting |
| L'Art Celeste (The Celestial Art) | 1894 | |
| L'Automne en Médoc | 1897 | Painting |
| L'Enlèvement de Ganymède | Date unknown | Painting |
| L'Intelligence Fut A Moi! Je Devins Le Buddha | Date unknown | |
| La Baie des Trépassés | Date unknown | Painting |
| La Barque | 1900 | Painting |
| La Barque rouge | 1900 | Painting |
| La Branche fleurie jaune | 1901 | Painting |
| La captive | 1914 | Painting |
| La Chute de Phaéton | 1906 | Painting |
| La Chute de Phaëton | 1910 | Painting |
| La fleur du marécage, une tête humaine et triste [De moerasbloem, een triest menselijk hoofd], uit de reeks Hommage à Goya. 6 lithographies par Odilon Redon | 1885 | |
| La Mare à Peyrelebade | 1897 | Painting |
| La Mer à Morgat | 1883 | Painting |
| La Mort: C'est Moi Te Rendes Sérieuse; Enlaçons-Nous | Date unknown | |
| La Mort d'Orphée | 1908 | Painting |
| La mort. Mon ironie dépasse toutes les autres! | 1890 | Painting |
| La Mort: Mon ironie depasse toutes les autres! (Death: My iron surpasses all others!) | 1889 | |
| La palme | Date unknown | Painting |
| La Peur (Fear) | 1865 | |
| La route de Bièvres | 1890 | Painting |
| La sirene sortit des flots vetue de dards (The Siren clothed in barbs, emerged from the waves | 1883 | |
| La Sulamite (The Shulamite) | 1897 | |
| La Vieille: Que Crains-tu? Un Large Trou Noir! Il Est Vide Peut-être? | Date unknown | |
| La Vieille: Que Crains-tu? Un large trou Noir! Il est vide peut-etre? (What are you afraid of? A wide black hole! It is empty, perhaps!) | 1896 | |
| Lady of the Flowers | 1892 | Painting |
| Lande avec une mare | Date unknown | Painting |
| Lande nue | Date unknown | Painting |
| Landscape | 1872 | Painting |
| Landscape | Date unknown | Painting |
| Landscape at Daybreak | 1872 | Painting |
| Landscape with Rocks near Royan | Date unknown | Painting |
| Large Vase with Flowers | 1912 | Painting |
| Le Bouddha | 1895 | |
| Le Bouddha | 1906 | Drawing |
| Le Buddha | 1895 | |
| Le Centaure à l'arc | Date unknown | Painting |
| Le Centaure aux coquelicots | 1910 | Painting |
| Le centaure et le dragon | Date unknown | Painting |
| Le char d'Apollon | 1905 | Painting |
| Le Chemin à Peyrelebade | Date unknown | Painting |
| Le Chêne | Date unknown | Painting |
| Le Coursier (The Race Horse) | 1894 | |
| Le Gue (The Ford) | 1865 | |
| Le Jour (Day) | 1891 | |
| Le Jour Enfin Parait,... Et Dans Le Disque Même Du Soleil, Rayonne La Face de Jésus-Christ | Date unknown | |
| Le Liseur (The reader) | 1892 | |
| Le paravent rouge (avec Pégase) | Date unknown | Painting |
| Le pavot noir | Date unknown | Painting |
| Le Petit Vase vert | Date unknown | Painting |
| Le Polype difforme flottait sur les rivages, sorte de cyclope souriant et hideux (Thedeformed polyp floated on the shores, a sort of smiling and hideous Cyclops | 1883 | |
| Le Regard | 1901 | Painting |
| Le Regard | 1910 | Painting |
| Le Rêve – Fleurs et Visage | 1890 | Drawing |
| Le Rocher rose | 1880 | Painting |
| Le Satyre au cynique sourire (The Satyr with the cynical smile) | 1883 | |
| Le Silence | 1895 | Painting |
| Le Vitrail | 1906 | Painting |
| Les Anemones (Still Life with Anemones) | 1905 | Painting |
| Les Bêtes De La Mer Rondes Comme Des Outres | Date unknown | |
| Les Croisés | Date unknown | Painting |
| Les Landes à Peyrelebade | 1885 | Painting |
| Les Parques | Date unknown | Painting |
| Les Quais à Bordeaux | 1900 | Painting |
| Les rochers (Rochers en Bretagne) | 1875 | Painting |
| Les Sciapodes: La tete le plus bas possible, c'est le secret du bonheur! (The Skiapods: "The head as low as possible, that is the secret of happiness!") | 1889 | |
| Les trois vases bleus | 1910 | Painting |
| Liserons et coquelicots dans un petit pichet vert | 1866 | Painting |
| Lueur precaire, une tete a l'infini suspendue(Precarious glimmering, a head suspended | 1891 | |
| Lumière | Date unknown | |
| Lumiere (Light) | 1893 | |
| Madame Arthur Fontaine (Marie Escudier, born 1865) | 1901 | Painting |
| Madame Odilon Redon | 1882 | Painting |
| maison avec deux arbres | Date unknown | Painting |
| Marguerites | 1901 | Painting |
| Marguerites et baies de Sorbier | 1901 | Painting |
| Maurice Denis | 1903 | |
| Médoc, arbres dans la prairie | Date unknown | Painting |
| Médoc, l'arbre | Date unknown | Painting |
| Médoc, la lande | Date unknown | Painting |
| Médoc, le bouquet d'arbres | Date unknown | Painting |
| Melancholy | 1868 | Drawing |
| Mes Baisers ont le Gout d'un Fruit Qui Se Fondrait Dans Ton Coeur!... | Date unknown | |
| Meules couvertes de bâches près d'un arbre | Date unknown | Painting |
| Mme Sabouraud (Thérèse Balandier) | 1907 | Drawing |
| Mon Enfant (My Child) | 1892 | |
| Montagnes des Pyrénées | Date unknown | Painting |
| Morgat vue des dunes de la Palue | Date unknown | Painting |
| moulin en Bretagne | Date unknown | Painting |
| Mystery | 1910 | Painting |
| Mystical Conversation | 1896 | Painting |
| Nasturtium | 1905 | Painting |
| Nature morte | 1901 | Painting |
| Navet | 1875 | Painting |
| Noce juive au Maroc | Date unknown | Painting |
| Nocturne | Date unknown | Painting |
| Nuages clairs sur une lande | Date unknown | Painting |
| Oannès | 1905 | Painting |
| Oannès | 1908 | Painting |
| Oannes and the Sphinx | 1910 | Painting |
| Oannès: Moi, La Première Conscience Du Chaos, J'ai Surgi de L'Abime Pour Durcir la Matière, Pour Régler les Formes | Date unknown | |
| Offrande | Date unknown | Painting |
| Old Man With Wings and Beard or Winged Old Man with a Long White Beard | 1870 | Drawing |
| Ophelia | 1901 | Painting |
| Ophelia | 1905 | Painting |
| Ophelia | Date unknown | Painting |
| Ophelia among the Flowers | c. 1905–1908 | Drawing |
| Ophelia with a Blue Wimple in the Water | 1900 | Painting |
| Orphée | 1910 | Painting |
| Orphée | Date unknown | Painting |
| Orpheus | 1903 | Drawing |
| Pandora | 1910/1912 | Painting |
| Panneau décoratif | 1902 | Painting |
| Pansies | 1905 | Drawing |
| Papillons | 1910 | Painting |
| Paravent d'Olivier Sainsère | 1903 | Painting |
| Parfois on trouve un vieux flacon qui se souvient, d'ou jaillit toute vive une ame qui revient (Sometimes one finds an old reminiscing flask, whence issues in full life a returning soul) | 1890 | |
| Parsifal | 1892 | |
| Passage d'une Ame (Passage of a Spirit) | 1891 | |
| Paul Gauguin | 1904 | Painting |
| Paul Serusier | 1903 | |
| Paysage de Venise | 1908 | Painting |
| Pégase et l'Hydre | 1900 | Painting |
| Pegasus | 1914 | Painting |
| Pegasus and the Hydra | 1907 | Painting |
| Pegasus, the Horse on the Rock | 1908 | Drawing |
| Pélerin du monde sublunaire (Pilgrim of the sublunary world) | 1891 | |
| Perversité | 1891 | |
| Perversite (Perversity) | 1891 | |
| Petite fille tricotant | Date unknown | Painting |
| Peupliers à Peyrelebade | Date unknown | Painting |
| Peyrelebade | 1888 | Painting |
| Pierre Bonnard | 1900 | |
| Piety Beside a Red Tree | 1905 | Painting |
| Pivoine, géranium et lilas | Date unknown | Painting |
| Plante verte dans une urne | Date unknown | Painting |
| Pond in les Landes | 1880 | Painting |
| Port breton | Date unknown | Painting |
| Portrait d'Arï Redon au col marin | 1897 | Painting |
| Portrait d'Arï Redon en profil | 1892 | |
| Portrait de Jeanne Chaine | 1903 | Drawing |
| Portrait de jeune fille sur fond d'arcatures | 1911 | Painting |
| Portrait de Madame Redon | 1911 | Painting |
| Portrait de Paule Gobillard | 1908 | Drawing |
| Portrait of A.M.L. Bonger-van der Linden | 1905 | Painting |
| Portrait of Emile Bernard | 1901 | Drawing |
| Profil de jeune fille parmi les fleurs | 1905 | Painting |
| Profil de lumiere (Profile of light) | 1886 | |
| Profile | Date unknown | Painting |
| Profile and Flowers | 1912 | Drawing |
| Profile of a Woman with a Vase of Flowers | 1900 | Painting |
| Profile on Red Meanders (formery known as Jeanne d'Arc) (see Google Books) | 1900 | Drawing |
| Prophète | Date unknown | Painting |
| Puis l'ange prit l'encensoir (And the angel took the censer) | 1899 | |
| Quadrige, le char d’Apollon | 1909 | Painting |
| Quand s'eveillait la Vie au Fon de la matiere obscure (When life was awakening in the depths of obscure matter | 1883 | |
| Reflections | 1903 | Drawing |
| rocher en Bretagne | Date unknown | Painting |
| Rocher sur la grève | Date unknown | Painting |
| Rochers de Vallières, près de Royan | Date unknown | Painting |
| Rochers en Bretagne | 1884 | Painting |
| Rochers près de Royan | Date unknown | Painting |
| Rochers sur la plage | Date unknown | Painting |
| Rocks on the Beach | 1883 | Painting |
| Rocky Peak | 1875 | Painting |
| Rocky Slope | Date unknown | Painting |
| Roger and Angelica | 1910 | Drawing |
| Roger et Angélique | Date unknown | Painting |
| Roger Marx | 1904 | |
| Roland à Ronceveaux | 1862 | Painting |
| Rose, iris et marguerites dans un vase vert | Date unknown | Painting |
| rue à Saint-Georges-de-Didonne | Date unknown | Painting |
| Rue de village | 1875 | Painting |
| Rue Douarnenez | 1880 | Painting |
| Sailboats (Allegorical Landscape) | 1907 | Painting |
| Saint Anthony and the Two Temptresses (Saint Antoine et deux Tentatrices) | 1896 | Drawing |
| Saint-Antoine...A travers ses longs cheveux qui lui couvraient la figure, j'ai cru reconnaitre Ammonaria (Saint Anthony: "Beneathe her long hair , which covered her face, I thought I recognized Ammonaria) | 1889 | |
| Saint-Antoine: Au Secours Mon Dieu! | Date unknown | |
| Saint George and the Dragon | Date unknown | Drawing |
| Saint George and the Dragon (Saint Georges et le dragon) | 1909 | Painting |
| Saint Jean | 1910 | Drawing |
| Saint John | 1900 | Painting |
| Saint Sebastian | 1900 | Painting |
| Saint Sebastian | 1910 | Painting |
| Saint Sebastian (Basel) | 1910 | Painting |
| Saint Sébastien | 1910 | Painting |
| Salomé | 1910 | Painting |
| Sans cesse a mes cotes s'agite le demon (Ceaselessly by my side the demon stirs) | 1890 | |
| Seated Man | Date unknown | Painting |
| Self-portrait | 1867 | Painting |
| Self-portrait | 1880 | Painting |
| Self-portrait | 1885 | Painting |
| Si par une nuit lourde et sombre, un bon chretien, par charite, derriere quelque vieux decombre, enterre votre corps voute (If on a close dark night a good Christian, out of charity, behind some old ruin, buries your arched body) | 1890 | |
| Silence | 1911 | Painting |
| Siren | 1900 | Painting |
| Small Grey Panel I | 1901 | Painting |
| Small Grey Panel II | 1901 | Painting |
| Sommeil de Caliban | 1895 | Painting |
| Sous-bois au printemps | Date unknown | Painting |
| Sous l'aile d'ombre | Date unknown | |
| Sous l'aile d'ombre, l'etre noir appliquait une active morsure (Beneath the wing of shadow the black creature was biting energetically) | 1891 | |
| Spring | 1907 | Painting |
| Still Life with Flowers | 1905 | Painting |
| Still Life with Fruit | 1905 | Painting |
| stillife | Date unknown | Painting |
| Sur le fond de nos nuits dieu de son doigt savant dessine un cauchemar multiforme et sans treve (On backdrop of our nights God with His knowing finger traces a multiform implacable nightmare) | 1890 | |
| Symbolic Head | 1890 | Painting |
| Tete d'Enfant avec Fleurs (Head of a Child with Flowers) | 1897 | |
| Tete d'Enfant (Head of a Child) | 1899 | |
| Tête d'Orphée | Date unknown | Painting |
| The Angel Raphael Leaving Tobit and His Family | 1862 | Painting |
| The Birth of Venus | 1906 | Painting |
| The Birth of Venus | 1912 | Painting |
| The Book of Light | 1893 | Drawing |
| The Buddha | 1904 | Painting |
| The Chariot of Apollo | 1905–1916 | Painting |
| The Chariot of Apollo series | Date unknown | Painting |
| The chariot of the Sun | 1910 | Painting |
| The Crucifixion | 1904 | Painting |
| The Cyclops | c. 1914 | Painting |
| The Death of Orpheus | 1904 | Painting |
| The Devil (Le Diable) | 1896 | Drawing |
| The Dog | 1896 | |
| The Fisherwoman | Date unknown | Drawing |
| The Flowers in a Blue Vase | 1913 | Drawing |
| The Golden Cell | 1892 | Painting |
| The Gothic Window | 1900 | Painting |
| The Green Vase | Date unknown | Painting |
| The Grey Sail | Date unknown | Painting |
| The Haunting (Hantise) | 1893 | Artwork |
| The Headhunter and His Family | 1870 | Drawing |
| The Mount of Calvary | 1895 | Drawing |
| The Muse on Pegasus | 1908 | Painting |
| The Port of Morgat | 1882 | Painting |
| The Potted Geranium | 1865 | Painting |
| The Prayer | 1893 | Painting |
| The Queen of Sheba (La Reine de Saba) | 1896 | Drawing |
| The Red Boat | 1910 | Painting |
| The Red Man | 1905 | Painting |
| The red poppy | 1895 | Painting |
| The Red Tree | 1905 | Painting |
| The Sea in Brittany | Date unknown | Painting |
| The Shadow (L'Ombre) | 1896 | Drawing |
| The Tree | 1875 | Painting |
| The Two Graces | 1900 | Painting |
| The Winged Man | 1890 | Painting |
| The Yellow Sail | 1905 | Painting |
| Three Fates | 1900 | Painting |
| Trees in Bièvres | Date unknown | Painting |
| Trees in the Blue Sky | 1883 | Painting |
| Triumph of Truth | 1870 | Painting |
| Tronc d'arbre dans la plaine | Date unknown | Painting |
| Two Dancers | Date unknown | Painting |
| Two Young Girls among Flowers | 1912 | Painting |
| Un étrange jongleur [Een vreemde evenwichtskunstenaar], uit de reeks Hommage à Goya. 6 lithographies par Odilon Redon | 1885 | |
| Underwater Vision | 1910 | Painting |
| Une femme revêtue du Soleil (A woman clothed with the sun) | 1899 | |
| Une longue chrysalide couleur de sang (A longchrysalis, the color of blood) | 1889 | |
| Vase de fleurs | 1915 | Painting |
| Vase de fleurs | Date unknown | Painting |
| Vase of Flowers | 1867 | Painting |
| Vase of Flowers | 1890 | Painting |
| Vase of Flowers | 1901 | Painting |
| Vase of Flowers | 1904 | Painting |
| Vase of Flowers | 1905 | Painting |
| Vase of Flowers, after Cézanne | 1896 | Painting |
| Vase of Flowers (Pink Background) | c. 1906 | Painting |
| Vase with Bindweed and Camomile | 1867 | Painting |
| Vase with Wild Flowers | 1900 | Drawing |
| Vieil arbre dans une prairie | Date unknown | Painting |
| Vierge | 1916 | Painting |
| Vieux Chevalier (Old Knight) | 1896 | |
| Village by the Sea in Brittany | 1880 | Painting |
| Village dans les Basses-Pyrénées | Date unknown | Painting |
| Village Square, Brittany | 1883 | Painting |
| Village sur la côte de Bretagne | Date unknown | Painting |
| Vision | 1890 | Painting |
| Vision dans les nuages | 1900 | Painting |
| Vision- vase of flowers | 1900 | Painting |
| Voici La Bonne-Déesse, L'Idéenne des Montagnes | Date unknown | |
| Volupte, Fantome Elastique! (Pleasure, elastic phantom!) | 1890 | |
| Wildflowers | 1905 | Drawing |
| Wildflowers in a Long Neck Vase | Date unknown | Painting |
| Window | 1907 | Painting |
| Winged Horse | 1895 | |
| With Closed Eyes | Date unknown | Painting |
| Woman in a gothic arcade- woman with flowers | 1905 | Painting |
| Yellow frieze | 1901 | Painting |
| Yeux Clos (Closed Eyes) | 1890 | |
| Young Man (Jeune Homme) | 1896 | Drawing |
| Young Woman in Profile | 1910 | Drawing |
| Young woman standing | Date unknown | Painting |
Frequently Asked Questions
The subject is Ophelia from William Shakespeare's tragedy Hamlet. Redon identifies her through the title, closed-eyed profile and flowers associated with her story, but he does not illustrate one exact line or construct a literal stage scene. The image is an imaginative response to the character and her fate.[1]
The National Gallery dates NG6438 to about 1905–08. It is pastel on paper, approximately 64.5 × 91 cm.[1] The range should not be shortened to 1906: that date belongs to, among other objects, a different Ophelia pastel now at the Art Institute of Chicago.[5]
Flowers connect the image to Ophelia's garlands in Hamlet, but they also organise its colour and rhythm. Some resemble plants; others approach abstract marks. They can evoke beauty, transience and memorial association, though the picture does not provide a dependable one-to-one code for every bloom.
Possibly. The Shakespearean subject, horizontal pose and blue-green field strongly invite that reading, and National Gallery interpretation discusses her as floating. Yet Redon supplies no unambiguous riverbank, current or reflection. Water is a well-supported interpretation, not a securely mapped setting.[1]
It belongs to the National Gallery, London, as NG6438. The pastel entered the collection in 1977 after being acquired from Marlborough Fine Art with outside funding support. Check the museum's current record for display information before visiting.[1]
Discussion
Use this evidence-led guide as a starting point for close looking rather than a final verdict.
Share an observation about Ophelia among the Flowers or a source that adds useful context.
Reader Insights
Which detail most changes your reading of Ophelia among the Flowers?
How do scale, support, medium or present museum evidence shape the encounter?
What remains uncertain when visual inference is separated from documented fact?
Join the Conversation
Add your reading below, keeping observations specific and evidence clear.
References
- National Gallery, London, “Odilon Redon: Ophelia among the Flowers.”, accessed 30 August 2026.
- National Gallery, London, “5-minute meditation: Redon's ‘Ophelia among the Flowers’.”, accessed 30 August 2026.
- Musée d'Orsay, “Redon 1840–1916.”, accessed 30 August 2026.
- J. Paul Getty Museum, Odilon Redon: Otherworldly Visions — Gallery Text, accessed 30 August 2026.
- Art Institute of Chicago, “Ophelia.”, accessed 30 August 2026.
