Crucifixion

細節

Odilon Redon (1840-1916)
Crucifixion
signed 'ODILON REDON' (lower left)
charcoal on buff paper
20¾ x 11 in. (52.7 x 28 cm.)

來源

Ambroise Vollard, Paris.
Ary Leblond, Paris.

出版

K. Berger, Odilon Redon, Fantasy and Colour, New York, 1965, p. 233, no. 700 (dated 1895-1898).
World Collectors Annuary, January-December 1971, vol. XXIII, p. 458.
Donation, Paris, 1984-1985, cited under no. 23.
A. Wildenstein, Odilon Redon, Catalogue raisonné de l'oeuvre peint et dessiné, Paris, 1992, vol. I, p. 206, no. 520 (illustrated, p. 207).

展覽

Paris, Orangerie des Tuileries, Odilon Redon, October 1956-January 1957, p. 27, no. 49 (titled Christ en croix).
London, The Matthiesen Gallery, Odilon Redon 1840-1916. A Loan Exhibition of Paintings, Pastels and Drawings in Aid of Corneal Graft and Eye Bank Research, May-June 1959, no. 34 (illustrated; titled Christ en croix).
Kamakura, Kanagawa Musée d'Art moderne, and Nagoya, Musée départemental d'Aichi, Exposition Odilon Redon, September-November 1973, p. 32, no. 18 (illustrated, pl. 18).

拍品專文

Redon's vision of the last sufferings of Christ is especially indebted to Matthias Grünewald's Crucifixion of Christ, painted in 1523-1524 as part of the Tauberbischofsheimer Altarpiece (coll. Badische Kunsthalle Karlsruhe). It was probably brought to Redon's attention by his friend the writer J.K. Huysmans, who viewed the painting on a trip in 1888 to Kassel, where it was then located, and described it in his novel Là-Bas, published in 1891. Redon painted a copy after Grünewald around this time (Wildenstein, no. 514; coll. Barber Institute of Fine Arts, Birmingham, UK). Redon was especially interested in bow-shaped crosspiece in Grünewald's painting. He refers to this motif in the arc shape seen above the cross in lot 118, and again places it above the cross in the present drawing, this time in inverted form.