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
Pandora: Introduction
Odilon Redon's Pandora holds a catastrophe in reserve. A young woman stands in profile, her copper-coloured head bent towards a small dark box. Nothing escapes from it. No terrified gesture breaks the quiet, and no cloud announces what is to come. Instead, pale mountains, an almost weightless sky and abundant flowers surround her. The story depends on the difference between the serenity Redon shows and the suffering that a viewer familiar with the Greek myth knows will follow.[1][2]
The National Gallery of Art dates this tall oil painting 1910/1912. It belongs to Redon's late colour work, yet it is not simply a cheerful reversal of the black charcoal drawings and lithographs of his earlier career. Colour makes the scene seductive, while the unopened container and the woman's concentrated gaze keep its meaning unsettled. Beauty becomes the condition in which danger is hardest to see.[3][4]
At a Glance
- ArtistOdilon Redon (1840–1916), the French Symbolist whose imagined subjects range from the early noirs to luminous late paintings and pastels.[4][5]
- Date1910/1912, following the dating used by the National Gallery of Art.[1]
- MediumOil on canvas.[1]
- Dimensions143.5 × 62.9 cm (56 1/2 × 24 3/4 inches); the unusually narrow vertical format makes Pandora nearly life-size.[1]
- SubjectPandora studies the still-closed box whose contents, in the myth, will bring suffering into the world; Redon chooses the interval before she opens it.[2][3]
- LocationNational Gallery of Art, Washington, DC, accession number 1963.10.56, Chester Dale Collection.[1]
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
- A Slow Route through the Painting
- The Myth before the Opening
- Flowers, Mountains and a World Still Intact
- Thin Paint, Thick Paint and Visible Canvas
- Innocence, Curiosity and Foreknowledge
- Pandora among Redon's Late Myths
- Provenance, Exhibition History and Present Home
- How to Look Closely
A Slow Route through the Painting
The eye can begin with Pandora's head. Her reddish-gold hair is held by a narrow band, and her face turns to the right in a nearly complete profile. The downward tilt directs attention away from the viewer. It also supplies the picture's most legible action: she looks at the rectangular object in her right hand. The other arm is drawn behind her body, so the hand and box become a compact meeting point between thought and possible deed.[1]
From there, the blue-green robe carries the gaze down the left half of the canvas. Its long folds broaden around her body and then open near the feet to reveal a pale skirt. The figure is substantial but not sharply modelled. Thin reddish passages remain visible within the turquoise, and the garment's outer edge sometimes seems to mingle with the coloured growth around it. Pandora is present as a body, yet Redon avoids the hard outlines and theatrical pose that might make her an actor declaring a decision.
The route then moves outward. A blue-grey mountain rises behind her head and shoulders, with lighter peaks receding towards the right. A high horizon leaves only a shallow strip of pink-cream sky. Below it, the landscape loosens into milky, rubbed tones. At the right and across the bottom, round pale blossoms gather among bursts of yellow, scarlet, blue, green and orange. Some remain recognisable as flowers; others dissolve into spots, scumbles and fragments of pigment. The National Gallery's visual description accordingly allows that these organic shapes might be flowers or abstracted earth.[1]
Only after this sweep does the box reassert itself. It lies close to the centre of the composition, a small brown-purple block edged with lighter strokes. Against the robe and washed landscape, it is exceptionally dark. The National Gallery's teaching material identifies both its central placement and its tonal contrast as the devices that pull attention towards it.[2][3] Scale does not make the object dominant; concentration does.
The Myth before the Opening
In the Greek origin myth presented by the National Gallery, Zeus seeks revenge after Prometheus gives fire to humankind. Hephaestus creates Pandora, and the gods endow her with beauty, charm, cleverness and curiosity. She receives a closed container with an instruction not to open it. When she does, sorrow, disease, violence, age and death enter the world, though hope remains as a means by which people may endure.[2]
Redon does not attempt to narrate that whole sequence. There is no Zeus, no Prometheus and no visible swarm of afflictions. The scene is poised at one highly charged threshold: Pandora is considering the gift before its opening. The lid appears shut, her posture is still, and her attention is wholly absorbed. Knowledge of the myth converts that modest act of looking into suspense.
This choice matters because it refuses the spectacle of punishment. A painter could show evils rushing into the air or Pandora recoiling after the damage has been done. Redon gives the viewer neither event. The National Gallery's classical-mythology study stresses that the tranquil image relies on what is not seen: the absent future becomes imaginable precisely because the present looks untroubled.[3] The painting therefore makes recollection part of vision. We supply the consequences that the surface withholds.
Flowers, Mountains and a World Still Intact
The flowers establish the world before loss. They crowd the lower edge without forming a tidy garden or a botanically exact border. Large ivory discs float at the right; smaller blue, yellow and red touches thicken beneath Pandora's feet. The teaching resource interprets the golden forms around her as signs of an earthly paradise before the box is opened.[2] That reading is persuasive as an account of the mythic setting, but the flowers do more than illustrate abundance. Their looseness lets colour detach itself from named things.
The mountain range plays a different role. Its cool, weighty silhouette steadies the upper half, while its surface is softened by broken paint. It appears remote rather than threatening. The pale sky contains no meteorological drama, and the luminous field beside the figure offers no obvious omen. According to the National Gallery's extended discussion, nothing in this calm visible world directly signals the plagues hidden in the container.[3]
That absence prevents colour from working as a simple code. Turquoise may feel cool and tranquil, the flowers celebratory, and the dark box ominous; the contrasts undeniably organise attention. Yet the picture does not provide a legend that equates each hue with one emotion. The box can look secretive because it is dark and closed, but its meaning also comes from the title and myth. Redon's colours intensify an ambiguity rather than solve it.
Thin Paint, Thick Paint and Visible Canvas
At a distance, the painting can resemble a pastel because its colours are powdery and its transitions soft. The object is nevertheless oil on canvas.[1] Redon varied the paint's density enough to make the support participate in the image. The National Gallery's close reading notes that in some passages paint barely covers the rough canvas, while thicker applications elsewhere smooth the surface; it compares the resulting alternation to brocade.[3]
The reproduction reveals why that distinction matters. Across the sky and mountains, pale layers seem brushed, rubbed or dragged so that neighbouring tones show through. On the robe, turquoise is interrupted by vertical brown-red traces and lighter exposed flecks. The flower zone is more materially assertive: opaque daubs, broken edges and differently sized touches compete at close range. The figure and setting are thus joined by a single fluctuating skin of paint, even when one passage reads as cloth and another as vegetation.
It would be unsafe to assign every mark to a particular tool from a digital image. What can be seen is the deliberate alternation between cover and exposure. Redon lets a thin passage feel atmospheric, then sets a denser accent against it. The dark box gains force not only from colour but from comparative solidity. It seems compact in a world whose other forms continually threaten to become light and pigment.
Innocence, Curiosity and Foreknowledge
Pandora's expression does not settle her state of mind. Her lowered eyes and quiet profile can suggest absorbed curiosity. Her relaxed shoulders and unhurried stance can also look innocent, as if she has no conception of the object's contents. The classroom interpretation describes her fascination with the gift and identifies the painted instant as one of decision.[2] Those terms help articulate the suspense, but they should not be mistaken for a record of a single emotion painted on her face.
Foreknowledge belongs most securely to the viewer. We recognise the name, notice the box and anticipate the disaster. Pandora herself may know only that she has been told not to open it. Redon's suspension of action creates an unequal distribution of information: the beholder understands the narrative consequence while the figure remains unreadable. Her stillness can therefore appear innocent and fateful at once.
The dark object sharpens that imbalance. It is the only visible clue to the coming transformation, yet its contents remain perfectly concealed. The National Gallery study argues that Redon sought to place visible forms in the service of an invisible reality.[3] Here that principle operates with unusual economy. A closed lid and a remembered story are sufficient to make an unseen future press upon an idyllic present.
Pandora among Redon's Late Myths
Redon had moved towards sustained colour by the 1890s, but his imaginative concerns did not disappear with the noirs. The National Gallery's survey describes his transition around 1890 from charcoal and lithography to colour while emphasising that the later works remained driven by a personal, dreamlike vision.[5] Getty likewise presents mythology, religion, literature and science as continuing sources across his art.[4] Pandora joins late colour to a subject whose decisive event remains invisible.
The downward-looking female figure belongs to a broader late practice of placing idealised women within flowers and indeterminate space. An institutional account of Redon's floral paintings notes that he repeatedly treated beautiful women from classical mythology between 1908 and 1914.[6] Yet this Washington Pandora must be kept distinct from the nude version at the Metropolitan Museum dated about 1914. The NGA painting is the clothed figure before blue-grey mountains, measures 143.5 × 62.9 cm and bears accession number 1963.10.56.[1][6]
Other late myths change the balance of action and stillness. In The Chariot of Apollo, airborne horses and a charioteer surge through a groundless sky.[7] In The Cyclops, a giant eye peers over a hill while the myth of Polyphemus and Galatea charges an otherwise hushed landscape.[8] Pandora is calmer than either. It locates danger in a handheld object and in a decision not yet made. The comparison shows that late colour did not impose a single mood upon Redon's mythic subjects.
This continuity also links the painting to Redon's wider Symbolist world of dreams and imagination. A familiar title opens a field of associations, but the visible scene does not reduce to an illustrated moral. Myth gives structure; colour, silence and material ambiguity keep interpretation active.
Provenance, Exhibition History and Present Home
The National Gallery records Jules Chavasse in Paris as an early owner and his sale at the Hôtel Drouot in June 1922. The painting was in New York by the later 1920s, moved through private ownership and the dealer Julius H. Weitzner, and was sold to Chester Dale on 20 October 1950. Dale's 1963 gift brought it to the National Gallery of Art, where the credit line is Chester Dale Collection.[1]
Its documented exhibitions trace changing frames of attention. It appeared in a Redon exhibition at De Hauke & Co. in New York in 1928, in the Museum of Modern Art's travelling Symbolism in Painting exhibition of 1947–48, and in the National Gallery's 1965 presentation of the Chester Dale bequest. It was later included in the Gallery's extended display From Impressionism to Modernism: The Chester Dale Collection in 2010–12.[1] These records do not prove that viewers agreed on its meaning. They do show the work moving from an artist-focused presentation into broader histories of Symbolism, collecting and modern art.
How to Look Closely
First follow Pandora's gaze to the box, but resist opening the story immediately. Note its size, position and dark tonal weight. Then look away from it towards the mountains and pale sky. Ask how little in that setting predicts a disaster.
Next compare surfaces: the thin veil over the sky, the streaked turquoise robe, the soft mountain and the more opaque flower marks. Finally, return to the figure. Her face gives no definitive answer about what she knows. The strongest tension in Pandora lies between this quiet visible moment and the future that exists only in myth, memory and expectation.
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
He represented the interval before Pandora opens the box. She stands still with the container in her hand and looks down at it; none of its afflictions has emerged. The National Gallery interprets this suspended instant as a moment of consideration or decision, while the viewer's knowledge of the myth supplies the consequence.[2][3]
The National Gallery dates its painting 1910/1912. That exact catalogue form should be retained. It is not the separate, nude Pandora at the Metropolitan Museum, which is dated about 1914.[1][6]
It is oil on canvas and measures 143.5 × 62.9 cm, or 56 1/2 × 24 3/4 inches. The narrow vertical canvas accommodates a nearly life-size standing figure while compressing the landscape around her.[1]
The pale sky, cool robe and bright flowers create a tranquil world that the National Gallery relates to the paradise existing before Pandora's act. The box is the darkest concentrated shape and draws the eye towards the hidden threat.[2][3] Ideas such as innocence, temptation or foreknowledge are interpretations of that contrast, not fixed colour labels established by the painting.
It is in the National Gallery of Art in Washington, DC, accession number 1963.10.56. The credit line is Chester Dale Collection, and the museum currently identifies it as on view in its West Building.[1]
Discussion
Use this evidence-led guide as a starting point for close looking rather than a final verdict.
Share an observation about Pandora or a source that adds useful context.
Reader Insights
Which detail most changes your reading of Pandora?
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 of Art, “Pandora,” accession 1963.10.56, accessed 30 August 2026.
- National Gallery of Art, “Pandora's Box,” Greco-Roman Origin Myths, accessed 30 August 2026.
- National Gallery of Art, The Inquiring Eye: Classical Mythology in European Art, accessed 30 August 2026.
- J. Paul Getty Museum, “Odilon Redon: Otherworldly Visions.”, accessed 30 August 2026.
- National Gallery of Art, Picturing France, 1830–1900, accessed 30 August 2026.
- Metropolitan Museum of Art, “Fantastic Blooms: Odilon Redon in The Met Collection.”, accessed 30 August 2026.
- Metropolitan Museum of Art, “The Chariot of Apollo,” accession 27.29, accessed 30 August 2026.
- Kröller-Müller Museum, “The Cyclops,” KM 103.098, accessed 30 August 2026.
