Paintings and Pastels

Odilon Redon Paintings and Pastels: Introduction

Odilon Redon's colour works are often introduced as the bright second act of a career that began in black. The contrast is real, but the simple story is misleading. Pastel offered Redon colour through a dry, powdery medium closely related to the charcoal he already understood. Oil and tempera gave him other kinds of surface, scale and permanence. Across all three, faces, flowers and mythic bodies occupy spaces that rarely behave like ordinary rooms or landscapes. Colour changed what Redon's art could do without replacing the imaginative habits of the noirs.^[1][2]

At a Glance

• Main colour mediapastel, oil paint and, in some works, tempera or mixed media.
• Useful turning pointcolour became increasingly prominent from around 1890, but the transition was gradual rather than a clean break.^[1]
• Pastel methodRedon layered marks, used parallel lines and hatching, and sometimes combined pastel with charcoal, Conté pencil, pastel pencil or paint.^[1]
• Recurring subjectsinward-looking figures, portraits, flowers, literary heroines and figures from classical myth.
• Characteristic settinga mist, cloud or coloured field in which objects can seem to float rather than occupy measured depth.^[2]
• Important cautionnot every late work is a pastel, and black did not vanish from Redon's colour art.

Selected Odilon Redon paintings and pastels

Contents

1. Introduction
2. Colour Was a Transition, Not a Conversion
3. Why Pastel Suited Redon
4. Oil and Tempera Were Different Tools
5. Faces, Portraits and Closed Eyes
6. Flowers Between Observation and Invention
7. Myth, Literature and Undefined Space
8. Colour at the Scale of Decoration
9. A Medium Gallery: Six Colour Works Compared
10. How to Look at a Redon Colour Work

Colour Was a Transition, Not a Conversion

The year 1890 provides a useful hinge. That is the date of Closed Eyes, an oil painting in which a pale head rises against a softly modulated blue-brown field. Yet no single year divides one Redon from another. The Musée d'Orsay describes his movement from black to colour as gradual and notes that charcoal continued to appear in his pastels. The Getty similarly stresses continuity of vision: radiant flowers and hovering forms still emerge from an undefined realm comparable to that of the charcoal monsters.^[1][2][4]

This distinction matters because colour is not evidence that Redon abandoned difficult or ambiguous ideas. The later pictures can appear more lyrical, but sleep, isolation, suspended action and the uneasy meeting of beauty and strangeness remain central. Nor was colour wholly absent from his earlier practice. Coloured paper, touches of pastel and mixed materials could modify the blacks of a drawing before bright colour became a dominant concern. From the 1890s, the balance shifted decisively, and Redon explored the possibilities of pastel and oil with increasing confidence; the imaginative logic, however, remained recognisably his own.^[1][3]

The result is better understood as an expansion. Black had taught Redon how to make an apparition emerge from darkness and how to leave parts of an image unresolved. Colour let him produce another kind of emergence: a flower can flare against haze, a head can materialise within an aureole, or a mythic body can be held between landscape and dream. The late work does not explain the early work away. It reveals how durable Redon's methods of suggestion were.

Why Pastel Suited Redon

Pastel is dry colour held in a fragile layer on a support. The Musée d'Orsay emphasises its matte, powdery quality and its ability to absorb rather than reflect light. That physical character connects it to charcoal, another friable material whose particles can be spread, layered and disturbed. For Redon, adopting pastel therefore did not mean exchanging drawing for a completely alien form of painting. It allowed the tactile and atmospheric knowledge developed in the noirs to continue in colour.^[1]

Close viewing reveals that his pastel colour is constructed, not simply filled in. The Orsay account identifies parallel lines and hatching as means of creating vibration and intensity. Layers can remain optically distinct: a dark contour, a passage of coloured strokes and a lighter haze may all participate without merging into a polished skin. Redon also worked in mixed media. Charcoal could remain under or within pastel; Conté and pastel pencils could sharpen or extend passages; pastel could enhance a painted surface. These combinations make blanket labels such as “a pastel period” inadequate.^[1]

The medium also suits Redon's uncertain spaces. Powder can make an edge glow, dissolve or appear to hover. In Ophelia among the Flowers, rapidly drawn dark outlines and coloured highlights give jewel-like definition to some passages while other forms remain open and atmospheric. The National Gallery describes the image as almost abstract in its design, although its literary subject remains legible. The balance between recognition and dissolution is fundamental: Redon gives the eye enough information to identify a face or bloom, then prevents the surrounding world from settling into ordinary depth.^[5]

Oil and Tempera Were Different Tools

Redon's colour art cannot be reduced to pastel. Closed Eyes, Pandora, The Chariot of Apollo, Vase of Flowers (Pink Background) and The Cyclops are all oil paintings, though their supports differ. Oil enabled Redon to build coloured fields on canvas, cardboard or panel-mounted supports and to work at sizes and formats distinct from many drawings. Museum records should govern the medium of each object; a powdery appearance in a reproduction does not make an oil painting a pastel.^{[4][6][7][8][11]}

Tempera adds another complication. The Met records Etruscan Vase with Flowers as tempera on canvas, dating it to 1900–10. Its palms and invented or artificial blooms occupy a blue-and-ochre scheme. The work demonstrates that Redon selected among colour media rather than following one fixed recipe. It would be unsafe to infer a precise pigment mixture or sequence from appearance alone.^[9]

Faces, Portraits and Closed Eyes

In colour, Redon's human figures often remain psychologically withheld. Closed eyes turn attention away from exchange with the viewer; lowered heads and profiles can produce a similar effect. Closed Eyes is especially important because its oil medium and 1890 date place it near the transition into sustained colour. The head is monumental but not fully embodied, and the surrounding field gives no dependable location. Colour makes the apparition gentler without making its condition certain.^[4]

Portraits could retain more social specificity while still opening into imaginative space. In the 1901 pastel Madame Arthur Fontaine, yellow and lavender and a profusion of flowers spread behind and above the seated woman. The sitter remains recognisable as a person in a portrait, yet the setting does not behave as descriptive domestic space. Redon's colour surrounds identity with atmosphere instead of using background merely as furniture or view.^[10]

The closed or averted face also links portraiture to literary imagery. Ophelia's profile in the National Gallery pastel belongs to Shakespeare's tragedy, but Redon did not construct a literal scene from the play. Her drained face is held among vivid flowers, and it remains uncertain whether she is asleep or dead. Such ambiguity is not an absence of meaning. It is the mechanism by which the picture sustains several related states—reverie, suspension and loss—without selecting just one.^[5]

Flowers Between Observation and Invention

Redon's flowers can be botanically suggestive without operating as specimens. In Vase of Flowers (Pink Background), the Met identifies poppies and cornflowers among the bouquet, yet describes them as fanciful re-creations set against a misty, undefined field. The contrast is productive: attentive looking supplies structures and differences, while imagination loosens scale, colour and setting.^[8]

His friendship with Armand Clavaud, curator of Bordeaux's botanical gardens, belongs to this history of sustained interest in natural forms. The Met connects that relationship to the sense of wonder evident in Redon's bouquets, where recognisable and uncertain plants can coexist. It does not follow that every flower carries a stable coded meaning. A poppy may invite associations with sleep, but the evidence of a particular picture should come before a universal flower dictionary.^[10]

Flowers also let Redon organise colour without depending on conventional perspective. Stems and a vase may provide a centre, while blooms become separate pulses distributed across a field. In Flower Clouds, a pastel of about 1903, the very title joins botanical form to atmosphere. In the oil Vase of Flowers, the pink background is neither a clearly measured wall nor empty neutral space. It is an active colour environment from which the bouquet emerges.^[8][12]

Myth, Literature and Undefined Space

Redon repeatedly drew on classical myth and literature, but his paintings often suspend narrative rather than recount it. The National Gallery's Ophelia concentrates Shakespeare's heroine, flowers, colour and uncertainty rather than illustrating a sequence of events. In the National Gallery of Art's Pandora, dated 1910/1912, the woman bows toward the box she holds while a coloured landscape and flower-like forms spread around her. The picture concentrates attention on a moment before consequences become visible.^[5][6]

The Chariot of Apollo transforms motion in another way. The Met's oil painting of 1905–16 omits a ground plane, so horses and charioteer appear to race through boundless sky. Redon returned to the motif in more than thirty works across oil, pastel and pencil. The absence of stable ground is therefore not a failure to finish the setting; it is part of how the image detaches myth from ordinary time and place.^[7]

Undefined space does not always mean calm. In The Cyclops, the giant Polyphemus looks over a rocky barrier toward the sleeping Galatea. The Kröller-Müller Museum identifies the conspicuous single eye and the unusually bright colours as sources of the painting's charged effect. Colour heightens the tension between an alluring surface and an act of watching. The dream world can be radiant and menacing at once.^[11]

Colour at the Scale of Decoration

Redon's later work extended beyond autonomous easel pictures. He made decorative panels and screens for patrons and friends, using recurring flowers, trees, profiles and indefinite coloured fields on an architectural scale. A historical MoMA catalogue records commissions for interiors as well as screens, showing that decoration became a serious arena rather than a marginal sideline.^[13]

This larger setting altered the viewer's encounter. A panel within a room participates in an ensemble and is seen through movement, distance and changing attention. Redon's floating forms could spread across a wall without requiring continuous narrative. Decoration gave his art a place between image and environment, while preserving the openness that makes an individual pastel or painting resist a single explanation.

A Medium Gallery: Six Colour Works Compared

Closed Eyes, 1890

This is oil on canvas mounted on cardboard, not pastel. Its restrained range and hovering head make it a threshold work: colour is present, yet the image remains close to the inward, apparition-like language of the noirs. It is held by the Musée d'Orsay.^[4]

Ophelia among the Flowers, about 1905–08

This National Gallery work is pastel on paper. Dark outlines and intense coloured passages coexist with an unresolved luminous field. Its horizontal format and literary subject distinguish it from Redon's more compact, freestanding heads.^[5]

Pandora, 1910/1912

The National Gallery of Art's tall, narrow Pandora is oil on canvas. The bowed profile, small box and flower-like foreground arrest the myth before its catastrophe. It must not be confused with the Met's different Pandora of about 1914.^[6]

The Chariot of Apollo, 1905–16

The Met painting is oil on canvas and one version within a much larger group devoted to the motif. Its racing horses inhabit a groundless sky. Other versions use pastel or pencil, so their media and dates should not be transferred to this object.^[7]

Vase of Flowers (Pink Background), about 1906

This Met still life is oil on canvas. Identifiable flowers are transformed into jewel-like colour against a misty pink field. The firmness of the vase and stems makes the surrounding spatial uncertainty especially visible.^[8]

The Cyclops, about 1914

The Kröller-Müller painting is oil on cardboard mounted on panel. Polyphemus, Galatea, landscape and the enlarged eye join a mythic subject to Redon's long fascination with vision. Its brightness is not uncomplicated cheerfulness; it intensifies the strange relation between watcher and sleeper.^[11]

How to Look at a Redon Colour Work

Begin with the museum label. Knowing whether the object is pastel, oil or tempera prevents surface resemblance from becoming a false technical claim. Then look for the dark structure. A contour around a face, the neck of a vase or a mesh of hatching may organise colours that initially seem to drift freely. In a pastel, move close enough to distinguish separate marks, then step back until they combine into haze or radiance.^[1][5]

Next, ask what is stable and what is withheld. A title may identify Ophelia, Pandora or Apollo, but does the picture specify a precise moment, location or outcome? In a flower work, identify only the blooms the source or image supports, and notice where observation gives way to invention. Finally, compare the figure's scale with its setting. Redon's heads, flowers and mythic bodies often seem unusually large because the space around them lacks measurable distance. That imbalance is not a puzzle to solve once. It is a visual condition that keeps the familiar subject poised at the edge of an apparition.^[2][8]

Preservation Changes How Pastels Are Seen

Pastel's beauty depends on particles that can remain vulnerable at the surface. The Musée d'Orsay notes that Redon used fixative but stopped doing so after 1912 because it could alter colour and flatten the bloom of the pigments. He paid close attention to framing as a means of protection.^[1] Those facts explain why a museum pastel is normally encountered behind glazing and why handling, vibration and contact with the surface matter.

They also caution against treating a digital image as a complete account. Screens illuminate colour from behind; pastel absorbs light and has a material grain. Reflections from glazing may intervene in a gallery, but seeing the work at different distances can reveal relations between separate strokes, dark scaffolding and powdery haze that reproductions compress. Oil and tempera have their own condition histories, so the safest rule is to follow the holding museum's medium and conservation information for the specific object.

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.

490 artworks

Search artworks Medium All media Drawing Painting Reset

Name	Date	Medium
A La Vieillesse (To Old Age)	1886	Print
A Madman in a Dismal Landscape	1885	Print
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	Print
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	Print
Arabe musicien	1893	Painting
Arbre dans la lande	Date unknown	Painting
Arbre (Tree)	1892	Print
Arbres sur un fond jaune	1901	Painting
Ari	1898	Print
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	Print
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	Print
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	Print
Butterflies	1910	Painting
C'est le Diable	1888	Print
C'est moi, Jean, qui ai vu et qui ai oie ces choses (And I John saw these things and heard them	1899	Print
C'etait un voile, un empriente (It was a veil, an imprint)	1891	Print
Cain and Abel	1886	Print
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	Print
Cellule Auriculaire	1894	Print
Cellule Auriculaire (Auricular Cell)	1894	Print
Centaur visant les Nues (Centaur aiming at the Clouds)	1895	Print
Chaumière bretonne	Date unknown	Painting
Chemin près de la mer	Date unknown	Painting
Cheval aile (Winged Horse)	1894	Print
Cheval cabré sur une cime	Date unknown	Painting
Christ	1887	Print
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	Print
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	Print
Crucifixion	Date unknown	Painting
Cul-de-Lampe	1890	Print
Dans l'Ombre des Gens Pleurent et Prient Entourés d'Autres Qui Les Exhortent	Date unknown	Print
Dans mon rêve, je vis au ciel un visage de mystère	1885	Print
Dante and Beatrice	1914	Painting
De oude Ridder	1896	Print
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	Print
Des Peuples Divers Habitent Les Pays De L'Océan	Date unknown	Print
Die Kathedrale - 13080 - Bavarian State Painting Collections	1914	Painting
Druidesse	1891	Print
Druidesse	1892	Print
Dunes	Date unknown	Painting
Edouard Vuillard	1900	Print
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	Print
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	Print
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	Print
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	Print
Et Il Distingue Une Plaine Aride et Mamelonneuse	Date unknown	Print
Et il tombe du ciel une grande etoile ardente (And there fell a great star from heaven burning as it were a lamp)	1899	Print
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	Print
Et la-bas l'idole astrale, l'Apotheose (And beyond, the star idol, the apotheosis)	1891	Print
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	Print
Et le lia pour mille ans (And bound him a thousand years)	1899	Print
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	Print
Et Partout ce Sont des Colonnes de Basalte,... La Lumière Tombe des Voutes	Date unknown	Print
...Et Que Des Vuex Sans Tête Flottaient Comme Des Mollusques	Date unknown	Print
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	Print
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	Print
Femme de Profil (Profile of a Woman)	1900	Print
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	Print
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	Print
Hélène (Ennoia)	Date unknown	Print
Hommage à Goya. 6 lithographies par Odilon Redon	1885	Print
Icarus	1890	Painting
Il Tombe Dans L'Abime, La Tête En Bas	Date unknown	Print
Il y eut aussi des êtres embryonnaires [Er waren ook embryonale wezens], uit de reeks Hommage à Goya. 6 lithographies par Odilon Redon	1885	Print
Il y eut des luttes et des vaines victoires (There were struggles and vain victories)	1883	Print
Il y eut peut-etre une vision premiere essayee dans la fleur (There was perhaps a first vision attempted in the flower	1883	Print
Immédiatement Surgissent Trois Déesses	Date unknown	Print
Initiation to Study—Two Young Ladies	1905	Painting
J'ai Quelquefois Aperçu Dans Le Ciel Comme Des Formes D'Esprits	Date unknown	Print
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	Print
Je Suis Toujours la Grande Isis! Nul N'A Encore Soulevé Mon Fruit Est Le Soleil	Date unknown	Print
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	Print
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	Print
L'Aile (The Wing)	1893	Print
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	Print
L'Automne en Médoc	1897	Painting
L'Enlèvement de Ganymède	Date unknown	Painting
L'Intelligence Fut A Moi! Je Devins Le Buddha	Date unknown	Print
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	Print
La Mare à Peyrelebade	1897	Painting
La Mer à Morgat	1883	Painting
La Mort: C'est Moi Te Rendes Sérieuse; Enlaçons-Nous	Date unknown	Print
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	Print
La palme	Date unknown	Painting
La Peur (Fear)	1865	Print
La route de Bièvres	1890	Painting
La sirene sortit des flots vetue de dards (The Siren clothed in barbs, emerged from the waves	1883	Print
La Sulamite (The Shulamite)	1897	Print
La Vieille: Que Crains-tu? Un Large Trou Noir! Il Est Vide Peut-être?	Date unknown	Print
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	Print
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	Print
Le Bouddha	1906	Drawing
Le Buddha	1895	Print
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	Print
Le Gue (The Ford)	1865	Print
Le Jour (Day)	1891	Print
Le Jour Enfin Parait,... Et Dans Le Disque Même Du Soleil, Rayonne La Face de Jésus-Christ	Date unknown	Print
Le Liseur (The reader)	1892	Print
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	Print
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	Print
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	Print
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	Print
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	Print
Lumière	Date unknown	Print
Lumiere (Light)	1893	Print
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	Print
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	Print
Meules couvertes de bâches près d'un arbre	Date unknown	Painting
Mme Sabouraud (Thérèse Balandier)	1907	Drawing
Mon Enfant (My Child)	1892	Print
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	Print
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	Print
Parsifal	1892	Print
Passage d'une Ame (Passage of a Spirit)	1891	Print
Paul Gauguin	1904	Painting
Paul Serusier	1903	Print
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	Print
Perversité	1891	Print
Perversite (Perversity)	1891	Print
Petite fille tricotant	Date unknown	Painting
Peupliers à Peyrelebade	Date unknown	Painting
Peyrelebade	1888	Painting
Pierre Bonnard	1900	Print
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	Print
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	Print
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	Print
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	Print
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	Print
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	Print
Saint-Antoine: Au Secours Mon Dieu!	Date unknown	Print
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	Print
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	Print
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	Print
Sous l'aile d'ombre, l'etre noir appliquait une active morsure (Beneath the wing of shadow the black creature was biting energetically)	1891	Print
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	Print
Symbolic Head	1890	Painting
Tete d'Enfant avec Fleurs (Head of a Child with Flowers)	1897	Print
Tete d'Enfant (Head of a Child)	1899	Print
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	Print
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	Print
Underwater Vision	1910	Painting
Une femme revêtue du Soleil (A woman clothed with the sun)	1899	Print
Une longue chrysalide couleur de sang (A longchrysalis, the color of blood)	1889	Print
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	Print
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	Print
Volupte, Fantome Elastique! (Pleasure, elastic phantom!)	1890	Print
Wildflowers	1905	Drawing
Wildflowers in a Long Neck Vase	Date unknown	Painting
Window	1907	Painting
Winged Horse	1895	Print
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	Print
Young Man (Jeune Homme)	1896	Drawing
Young Woman in Profile	1910	Drawing
Young woman standing	Date unknown	Painting

Frequently Asked Questions

References

1. Musée d'Orsay, “Redon 1840–1916.”, accessed 30 August 2026.
2. J. Paul Getty Museum, Odilon Redon: Otherworldly Visions — Gallery Text, accessed 30 August 2026.
3. J. Paul Getty Museum, “Odilon Redon: Otherworldly Visions.”, accessed 30 August 2026.
4. Musée d'Orsay, “Les Yeux clos.”, accessed 30 August 2026.
5. National Gallery, London, “Odilon Redon: Ophelia among the Flowers.”, accessed 30 August 2026.
6. National Gallery of Art, Washington, “Pandora.”, accessed 30 August 2026.
7. Metropolitan Museum of Art, “The Chariot of Apollo.”, accessed 30 August 2026.
8. Metropolitan Museum of Art, “Vase of Flowers (Pink Background).”, accessed 30 August 2026.
9. Metropolitan Museum of Art, “Etruscan Vase with Flowers.”, accessed 30 August 2026.
10. Metropolitan Museum of Art, “Fantastic Blooms: Odilon Redon in The Met Collection.”, accessed 30 August 2026.
11. Kröller-Müller Museum, “The Cyclops.”, accessed 30 August 2026.
12. Art Institute of Chicago, “Flower Clouds.”, accessed 30 August 2026.
13. Museum of Modern Art, Odilon Redon, Gustave Moreau, Rodolphe Bresdin, accessed 30 August 2026.

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