Цитаты из книг — Jodi Hauptman

One of the most striking aspects of Redon's marriage of the real and the fantastic is the way he gives his monsters an emotional life.

Though she first appeared in Redon's noirs, she is seen much more frequently in the artist's pastels and oil paintings. In these works Redon uses water to liquefy Ophelia's body as well as the garlands that bedeck her, causing them all to bleed (in vibrant color) into the river that is her grave.

Redon explains, "The title that occasionally identifies my drawings can be superfluous.It is justified only when it is vague, indeterminate, and even equivocal. My drawings inspire and cannot be defined. The place us, as music does, in the world of the ambiguous and indeterminate".

In reaching for the vague, the nebulous, the obscure in both form and subject matter, Redon made an art of the imagination that is inseparable from his use of charcoal...

With his inclusion in Huysmans's notorious book, Redon himself became notorious, finally, at the age of forty-four, achieving the fame he had always hoped for.

In probing the power and impact of Goya's caricature, Baudelaire makes discoveries that will be a guide in our investigation of Redon.

Redon's thinking about dreams, intuition, and invention corresponded to contemporary Symbolist thought. As a way to access mind and spirit, the dream offered a perfect subject for Symbolist artists and writers.

The interest in the fantastic, the cultivation of the dream, the exploration of the supernatural, mystical, and occult, and the fascination with the workings of the mind - all rooted in Romanticism - become crucial features of both Decadence and Symbolism, the two movements with which Redon was most closely associated.

In his essay "Unpacking my library", the critic and philosopher Walter Benjamin describes the process and meaning of collecting: the links to memory, the paradoxical chaos and order, the childlike sense of renewal.