Bouquet in a Chinese Vase (ca. 1912–14)

Technique: Giclée quality print
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More about this artwork

We are delighted to present a captivating piece from the French Symbolist painter, Odilon Redon— "Bouquet in a Chinese Vase," crafted around 1912-1914. This painting offers a vivid exploration into Redon's transition into the use of vibrant colors and dream-like compositions. Known for his nuanced approach to subjects and profound emotional depth, Redon showcases a stunning bouquet lush with varied textures and hues.The arrangement is set against a warm, subdued background which resonates with the rich earth tones that dominate the space. This choice of background ensures that the bouquet, overflowing with flowers of different shapes and sizes, stands out, catching the viewer’s attention. The flowers themselves—a mix of poppies, daisies, and other botanical varieties—display a rich palette of oranges, yellows, whites, and greens. Each petal and leaf seems alive, fluttering slightly, perhaps in a gentle, unseen breeze.At the heart of the composition lies a subtly elegant Chinese vase, its surface gently adorned with faint decorative motifs, suggesting a storied history behind its otherwise simplistic appearance. The vase and the blossoms together tell a story of beauty and simplicity, divorced from the trappings of overbearing complexity."Bouquet in a Chinese Vase" is more than a mere floral representation; it is a testament to Redon’s artistic maturity and his embrace of color later in his career. Adding a whisper of the metaphysical, this work invites viewers to look beyond the physical vase and flowers and delve into the emotional and symbolic depths Redon paints forth.

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Odilon Redon was a French symbolist painter, printmaker, draughtsman and pastellist. Early in his career, both before and after fighting in the Franco-Prussian War, he worked almost exclusively in charcoal and lithography, works referred to as noirs. 

During the 1890s he began working in pastel and oils, which quickly became his favourite medium, abandoning his previous style of noirs completely after 1900. He also developed a keen interest in Hindu and Budhist religion and culture, which increasingly showed in his work.

He is perhaps best known today for the "dreamlike" paintings created in the first decade of the 20th century, which were heavily inspired by Japanese art and which, while continuing to take inspiration from nature, heavily flirted with abstraction. His work is considered a precursor to both Dadaism and Surrealism.