Odilon Redon

The Art Critic, Roger Marx

Odilon Redon's original lithograph, "The Art Critic, Roger Marx" is printed on flecked hand-made paper and with full margins as published by Ambroise Vollard in Paris in 1904. It is dated by Redon in the stone in the lower right margin. Andre' Mellerio, Odilon Redon: Peintre, Dessinateur et Graveur, Catalogue # 196, First and only State, as published in the edition of twenty impressions. The stone was then effaced. This scarce portrait (so masterful in its composition) is one of the final triumphs of the art created by the French artist, Odilon Redon.

The Art Critic, Roger Marx

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Title:	The Art Critic, Roger Marx
Artist:	Redon, Odilon (Bordeaux, 1840 - Paris, 1916)
Date:	1904
Medium:	Original Lithograph
Publisher:	Ambroise Vollard, Paris
Note:	Odilon Redon: During the second half of the nineteenth century France was home to three of the most misunderstood geniuses in the history of art; the painter, Van Gogh, the etcher, Charles Meryon, and the lithographer, Odilon Redon. Each suffered from either ridicule or anonymity during most of their careers, only to be discovered by the following generations as masters of the moderns. Fortunately for Redon his discovery came while he was still alive. In 1913, when he was seventy-three, the famous Armory Show in New York presented modern French art to an astounded America. Works of art by Monet, Renoir, Picasso, Cezanne, Gauguin, Van Gogh and Matisse were all the lithographs, pastels and paintings of Odilon Redon. Works by Odilon Redon were sold in a higher percentage than those by any other exhibitor. The intensely personal art of Redon had at last been grasped with at least a partial understanding.
	At seventeen, Odilon Redon was sent to Paris to prepare for a career as an architect. For a young man whose interests centered upon art, music, literature, science and nature this field of study held little fascination. He thus enrolled in the painting classes of Jean-Leon Gerome in 1864. Gerome's dry and academic style of teaching was completely alien to the temperament of Redon, however, he taught himself much more by frequenting the Louvre and studying the art of Da Vinci, Durer and Rembrandt. As well, at this time, Odilon Redon was befriended by another enigmatic genius, Rodolphe Bressdin (1822 - 1885). From Bresdin Redon learned both to etch and to make lithographs. Stylistically, Bresdin's intricate mazes of detailed imagery offered little influence to the future course of Redon's art, but Bresdin's insistence upon exploration of the artist's personal visions and dreams takes us firmly to the world of Redon. More than anything, Bresdin gave Redon the courage to follow his own feelings.
	Odilon Redon's early career dealt mainly with etching and writing. It wasn't until 1879 (when he was thirty-nine) that he published his first series of lithographs, the now famous, 'Dans le Reve' ('In the Dreamworld'). The following twenty years of Redon's career mark a highpoint of lithographic art. Such marvelous series as, 'Hommage a Goya', 'La Nuit' 'A Gustave Flaubert', 'Les Fleurs du Mal' and 'l' Apocalypse de Saint-Jean' were all created in this twenty year span, as well as a number of classic, individual lithographs.
	Odilon Redon's last years were given over mostly to his pastel drawings. But his genius turned to one last group of lithographs, a penetrating set of eight profile portraits which stretch over the years from 1900 to 1908. The subjects were four fellow artists, Vuillard, Bonnard, Serusier and Denis, the pianist, Ricardo Vines, the guitarist Miguel Llobet, Juliette Dodu, and the art critic, Roger Marx. Roger Marx (1859- 1913) was a very influential voice in late nineteenth century French art. He was, along with Andre Mellerio, one of the first to draw attention to the art of Odilon Redon.
	These portraits, which were published by Vollard, were all printed in very small editions of twenty-five impressions or less. Each was printed on the hand-made, flecked paper that is in evidence in this impression of 'The Art Critic, Roger Marx'. For each of the portraits, after the edition was printed the stone was effaced. Thus they rank among Redon's rarest works of art These last portraits form an apotheosis to Odilon Redon's famous lithographs. They are every bit as compelling and visionary as his earlier dream-world images.
	When Odilon Redon was finally discovered by the art world the Symbolist Movement embraced his work. A generation later, the Surrealists claimed him as their greatest precursor. Odilon Redon, however, would have nothing to do with such groups;
	He was the original great 'loner' . He can certainly be studied as an example of his generation of artistic talents but must never be categorized with them as a 'symbolist', a 'naturalist', or an 'impressionist'. Odilon Redon was unique; his dream-world, his personal vision, a place that was his alone."
Raisonne:	Andre' Mellerio, Odilon Redon: Peintre, Dessinateur et Graveur, Paris, Henri Floury, 1923. Catalogue # 196, First and only State, as published in the edition of twenty impressions. The stone was then effaced.
Size:	12 X 8 1/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	View larger Framed Image

Condition:	Printed on flecked hand-made paper and with full margins as published by Ambroise Vollard in Paris in 1904. Dated by Redon in the stone in the lower right margin. Apart from several slight crease marks this original impression of the 'The Art Critic, Roger Marx' is in excellent condition throughout. This scarce portrait (so masterful in its composition) represents one of the final triumphs of the famous art of Odilon Redon.
Price:	Sold - The price is no longer available.
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