Guardian Spirit of the Waters

CC0 Public Domain Designation

Prints and Drawings

1878

Odilon Redon
French, 1840-1916

Status: Currently Off View
Department: Prints and Drawings

Artist: Odilon Redon
Title: Guardian Spirit of the Waters
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1878
Medium: Various charcoals, with touches of black chalk, stumping, erasing, incising, and subtractive sponge work, heightened with traces of white chalk, on cream wove paper altered to a golden tone
Inscriptions: Signed lower left, in black chalk: "OD.R."
Dimensions: 46.6 × 37.6 cm (18 3/8 × 14 13/16 in.)
Credit Line: David Adler Collection
Reference Number: 1950.1428
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/90316/manifest.json

Hugh Edwards, “Redon, Flaubert, Vollard,” Bulletin of The Art Institute of Chicago, 36:1 (1942), p. 4 (ill.).
William Lieberman, “Redon, Drawings, and Lithographs,” The Museum of Modern Art Bulletin, XIX:2 (Winter, 1952), p. 6 (ill.).
Paul Sachs, Modern Prints and Drawings (New York, 1954), p. 54, pl. 47.
Sven Sandström, Le Monde imaginarie d’Olidon Redon (Lund, 1955), pp. 171 and 226, fig 134.
Roseline Bacou, Odilon Redon (Geneva, 1956), p. 70, note 2.
Klaus Berger, Odilon Redon, Fantasy and Colour, trans. by Michael Bullock (New York, 1965 ), p. 225, no. 584 and 594, fig. 45.
Jean Selz, Odilon Redon, translated by Eileen Hennessy, (Naefels, 1978), p. 14 (ill.).
Richard Hobbs, Odilon Redon (London, 1977), p. 26 fig. 17.
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century (Chicago, 1979) p. 79, 4D8.
Richard R. Brettell, French Impressionists (Chicago, 1987), pp. 94-95 and 119 (ill.).
Jean Vialla, Odilon Redon (Paris, 1988), p. 78 (ill.).
Klaus Berger, “Odilon Redon,” Encyclopaedia Universalis (1989), p. 646.
Alec Wildenstein, Odilon Redon: Catalogue Raisonné de l’oeuvre peint et dessiné 2 (Paris, 1994), pp. 196-197, no. 1129 (ill.).
Howard Smagula, Creative Drawing, 2nd ed. (London, 2001), pp. 180-181, fig. 8.16.
Susan M. Canning, Patrick Florizoone, Nancy Ireson, Kimberly Nichols, Debora Silverman, Anna Swimbourne, and Sabine Taevernier, with a forward by Herwig Todts, “James Ensor: The Temptation of Saint Anthony” (Art Institute of Chicago, 2014). https://publications.artic.edu/ensor/reader/temptationstanthony; Accessed August 2015, Section 236, fig. 1 (ill.).

The Art Institute of Chicago, “Exhibition of 19 charcoals owned by Jean Goriany [or Henri Petiet] made for Flaubert’s The Temptation of Saint Anthony,” August, 1941.
New York, The Museum of Modern Art, “Modern Drawings,” 1944, p. 32, cat. by Monroe Wheeler.
New York, The Museum of Modern Art, “Redon, Drawing, and Lithographs,” 1952, cat. 5.
Paris, Orangerie des Tuileries, “Odilon Redon,” October 1956-January 1957, cat. 22 as “Genie sur les eaux.”
The Hague, Gemeentemuseum,”Odilon Redon,” May 3- June 23, 1957, cat. 8.
New York, The Museum of Modern Art, “Odilon Redon, Gustave Moreau, Rodolphe Bresdin,” December 4, 1961-February 4, 1962, cat. 88; traveled to The Art Institute of Chicago, March 2-April 15, 1962.
New York, Wildenstein and Company, “Master Drawings from The Art Institute of Chicago,” October 17-November 30, 1963, cat. 111.
St Louis, Mo., Washington University Gallery of Art, “Nineteenth and Twentieth Century Artists and Draughtsmen,” March 13–April 8, 1966, no cat.
The Art Institute of Chicago, “Odilon Redon: Prince of Dreams,” June 9-September 18, 1994, cat. 50, cat. by Douglas Druick et al; traveled to Amsterdam, Van Gogh Museum, October 20, 1994-January 15, 1995, and London, Royal Academy of Arts, February 16-May 21, 1995.
Paris, Musée du Louvre, “La peinture comme crime ou la part maudite de la réalité,” October 19, 2001-January 14, 2002.
Gifu, Japan, The Museum of Fine Arts, “Odilon Redon —Le souci de l’absolu (Search for the Absolute),” October 8-December 8, 2002, cat. 33; traveled to Shimane, Japan, Shimane Art Museum, August 2, 2002 -September 23, 2002.

Sold by the artist to Amboise Vollard (1867- 1939), Paris, December 1899 [according to Chicago 1994]. Henri Petiet (1894-1980) Paris, by March 1940 [according to Wildenstein 1992]; sold to the Art Institute, 1950.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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