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ODILON REDON
A depiction of the artist’s dream in which man and nature live in harmony. As the viewer becomes lost in the wilderness, they encounter the divine: a figure in a Phrygian cap, cloak, and leopard skin
Odilon Redon "L'Apparition" Painting
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- Curator's Notes
Item #: ML-20897
Artist: Odilon Redon
Country: France
Circa: 1900
Dimensions: 8.875" high x 7.5" wide {Framed 13..25" high x 12" wide x 2" deep}
Materials: Oil on paper, laid down on board
Signed: initials (OD.R)
Provenance: Hotel Druout, Paris, February 27, 1909, lot 52
Bernheim-Jeune & Cie., Paris (acquired from the above)
Exhibition History: Prague, Société Manes, 1910
The Art Institute of Chicago, Private Collection in Chicago, 1969
During the late Medieval and Renaissance periods, the Three Kings—Gaspar, Melchior, and Balthasar—were often dressed in this manner, which later became an identifying symbol of French revolutionaries. The figure’s hair is in the style of Coiffure à la Titus. Most famously worn by Napoleon Bonaparte, the short, wispy, windswept hairstyle was inspired by the great Emperor Titus, conqueror of Jerusalem and patron of the Colosseum. Redon’s halo-encircled wings identify the figure as divine in nature. At his feet, a small oak sapling grows. The French academic practice of rendering trees with multiple trunks came from observing the old-growth oak trees of Fontainebleau. The 19th-century landscape artists of the Barbizon School and Impressionists frequently made sketching trips to Fontainebleau, creating the world’s first nature reserves. Redon’s clearing is populated with a rock covered in grass and foliage. A lavender weeping willow with green leaves evokes the French lakeside. A multicolor heavily impastoed background creates a dream-like atmosphere to the painting.
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Lucien Levy-Dhurmer
The two women are meant to represent the two lost provinces of Lorraine (left) and Alsace (right). The women's headdresses form the Vosges mountains, stark in their opposition against Germany's annexation in World War I
Lucien Levy-Dhurmer "Two Faithful Hearts" Pastel
$195,000
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- Curator's Notes
Item #: YML-19644
Artist: Lucien Levy-Dhumer
Country: France
Circa: 1914-1918
Dimensions: 33" height, 22" width (unframed); 39" height, 28" width (framed)
Materials: Pastel, Giltwood and gesso frame
Signed: ''Lucien Levy''
The women's headdresses form the Vosges mountains, stark in their opposition against Germany's annexation in World War I. The economy and culture of the Alsace-Lorraine people were centered around farming of the Vosges' alpine pastures. Levy-Dhumer reproduced this pastel as a lithograph, now acquired by a number of important collections including the Imperial War Museum, Biblioteca Nacional de Portugal, and the Finnish National Collection.
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François-Rupert Carabin
Carabin's esoteric work is a celebration of natural bodily forms, erotic postures, edging towards the dangerous and threatening psyche of the spirit. This composition depicts a woman or a nymph, embodying femininity and sexuality
François-Rupert Carabin Ceramic Fountain Basin
$225,000
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- Curator's Notes
Item #: S-19708
Artist: François-Rupert Carabin
Circa: 1898
Dimensions: 75" height, 43.25" width, 17.75" depth
Materials: Glazed Ceramic, Wood, Metal
Signed: "R Carabin"
Literature: Ceramic fountain pictured in The work of Rupert Carabin 1862-1932, Galerie du Luxembourg, Paris, 1974 model shown under number 191 on page 233; Catalogue of the National Society of Fine Arts in 1898; E.Molinier, '' fire arts '', Art and Decoration, 1899, page 19; reproduced-catalogs of the exhibition at the museum Galliera Carabin 1934-1935
The woman's skin is velvety while the blood feels slightly rough. The varying intensities of the warm brown tones and the sumptuous flow of oxblood red accentuate the magnificent relief created by the tussle between the nymph and the uterus. The resulting play of light bathes the scene in a twilit mood. Carabin’s esoteric work contributes to the elaboration of a narrative around the feminine body, always at the threshold between gentle eroticism and crude pornography.
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