Strange Flower (Little Sister of the Poor)

CC0 Public Domain Designation

Prints and Drawings

1880

Odilon Redon
French, 1840-1916

Status: Currently Off View
Department: Prints and Drawings

Artist: Odilon Redon
Title: Strange Flower (Little Sister of the Poor)
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.: 1880
Medium: Various charcoals, with touches of black chalk and black Conté crayon, stumping, incising and erasing, on yellowish cream wove paper altered to a golden tone
Inscriptions: Signed lower right, in black chalk: "ODILON REDON"
Dimensions: 40.4 × 33.2 cm (15 15/16 × 13 1/8 in.)
Credit Line: David Adler Collection
Reference Number: 1950.1433
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/90326/manifest.json

Emile Hennequin, “Beaux Arts: Odilon Redon,” La Revue Litteraire et Artistique (March 4, 1882), p. 137.
Joris Karl Huysmans, “Le Salon Officiel de 1881,” and “Appendice,” L’Art Moderne (Paris, 1883), p. 299.
Hugh Edwards, “Redon, Flaubert, Vollard,” Bulletin of The Art Institute of Chicago, 36 (1942), p. 4 (ill.).
Roseline Bacou, Odilon Redon (Geneva, 1956), p. 70, note 3.
Klaus Berger, Odilon Redon, Fantasy and Colour, translated by Michael Bullock (New York, 1965 ), p. 224, no. 615.
The Art Institute of Chicago Quarterly, 55:5 (1961), (ill. on cover).
Igor Gazdik, Odilon Redon (Bratislava, 1971), no. 13 (ill.).
Jean Selz, Odilon Redon, translated by Eileen Hennessy (Naefels, 1978), p. 35 (ill.).
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century (Chicago, 1979), p. 79, 4D11.
Diane Kelder, L’Heritage de L’Impressionisme (Paris, 1986), p. 121 (ill).
Jean Vialla, Odilon Redon (Paris, 1988), p. 82 (ill.).
Steven Frederick Eisenman, The Temptation of Saint Redon: Biography, Ideology, and Style in the Noirs of Odilon Redon (Chicago, 1992), p. 146, fig. 111.
Alec Wildenstein, Odilon Redon: Catalogue Raisonné de l’Oeuvre Peint et Dessiné 2 (Paris, 1994), p. 232, no. 1183 (ill.).
Barbara Larson, The Dark Side of Nature: Science, Society, and the Fantastic in the Work of Odilon Redon (University Park, Penn., 2005), pp. ix, 78, and 79, fig. 66.

The Art Institute of Chicago, ” Unpublished Drawings for the Temptation of St. Anthony by Odilon Redon, lent by Jean Goriany, New York,” July 26, 1941-April 30, 1942.
Paris, Salle du Journal, “Le Gallois,” “Deuxième Exposition des dessins de M. Odilon Redon,” 1882.
Paris, Musée des Arts Decoratifs, “Odilon Redon, Exposition Rétrospective de son oeuvre,” March 1926, cat. 235.
New York, The Museum of Modern Art, “Redon, Drawings and Lithographs,” 1952, cat. 7.
Palm Beach, Fla. Society of the Four Arts, “Odilon Redon,” 1955, cat. 45.
New York, The Museum of Modern Art, “Odilon Redon, Gustave Moreau, Rodolphe Bresdin,” December 4, 1961-February 4, 1962, cat. 107; traveled to The Art Institute of Chicago, March 2-April 15, 1962.
The Art Institute of Chicago, “Odilon Redon: Prince of Dreams,” June 9-September 18, 1994, cat. 55, cat. by Douglas Druick et al; traveled to Amsterdam, Van Gogh Museum, October 20, 1994-January 15, 1995; and London, the Royal Academy of Arts, February 16-May 21, 1995.
Gifu, Japan, The Museum of Fine Arts, “Odilon Redon —Le souci de l’absolu (Search for the Absolute),” October 8, 2002-December 8, 2002, cat. 47; traveled to Shimane, Japan, Shimane Art Museum, August 2, 2002-September 23, 2002.
New York, The Metropolitan Museum of Art and The Art Institute of Chicago, “Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde,” 2006-2007; shown at the Metropolitan Museum of Art, September 14, 2006-January 7, 2007, and The Art Institute of Chicago, February 17-May 13, 2007.

Sold by the artist to Ambroise Vollard (1867-1939), Paris, December 30, 1897. Henri Petiet (1894-1980), Paris, 1940; 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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