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SearchBrowseServicesOpen researchInstitution LoginSearchMenu links the French Archaeological Mission at the Eastern Desert has excavated more than 20 sites in Egypt focusing on Roman forts and Ptolemaic mining sites the region was heavily exploited in the Hellenistic Period (332–30 BC) Recent excavations at Ghozza reveal the harsh reality of mining Map of the Eastern Desert of Egypt showing the location of the Ptolemaic mines with Samut North and Ghozza circled in red (figure by B Among the first mines to open was Samut North, excavated by the French team in 2014–2015 (Redon & Faucher Reference Redon and Faucher2020) The site revealed valuable insights into the ore-production process lasting only four to five seasons (of six or nine months each) in the 310s BC and part (if not all) of the workforce was housed in guarded dormitories More recent excavations began in 2020 at Ghozza, the northern-most Ptolemaic gold mine (Faucher et al. Reference Faucher2021; Crépy et al. Reference Crépy2023) each likely spanning several years during the second half of the third century BC several other differences from Samut North are also apparent General view of Sector 44 looking north (figure by M Institut français d'archéologie orientale) Iron shackles on the floor of Room 44.15 (figure by B A complete set of iron shackles from Room 44.15 (figure by M This discovery is exceptional in many respects. First, it sheds light on the status of some workers at the Ghozza mine, aligning with ancient texts such as those of second-century BC writer Agatharchides (quoted by Diodorus Siculus, Library of History: 3.12.3; Oldfather Reference Oldfather1935) who vividly describes the harsh conditions endured by gold miners under the Ptolemies: “And those who have been condemned in this way—and they are of a great multitude and all have their feet bound—work at their tasks unceasingly both by day and throughout the entire night.” Although Agatharchides identifies the miners as prisoners of war and convicted criminals Image of a shackled man on a kylix found in Naples diameter 195mm (National Museum of Antiquities They also closely resemble shackles uncovered in the silver mines of Laurion, Greece, in the 1870s (Boucher Reference Boucher2017). This is not the first direct link between Greek and Ptolemaic mines: quartz-grinding mills at Samut North have striking parallels at Laurion (Redon & Faucher Reference Redon and Faucher2020: 46) suggesting that the technological knowledge used in Egyptian gold mines during the Hellenistic period was imported and set up by Greek and Macedonian engineers brought to Egypt by the Ptolemies The Ghozza shackles further exemplify this cross-cultural exchange The discovery of shackles at Ghozza reveals that at least part of the workforce was composed of forced labour The exact living conditions of these individuals remain unclear because their dwelling places have not yet been identified indeed the village set-up seems to suggest that the population was free to move around in general More than half of the village has been excavated so far and excavations will continue in the hope of identifying any containment areas the discovery of the shackles at Ghozza serves as a reminder of the harsh realities faced by workers in the Ptolemaic gold mines Beneath the grandeur of Egypt's wealth and the imposing mountains of the Eastern Desert lies a history of exploitation The gold extracted from these mines helped finance the ambitions of Egypt's rulers Paul François and Matjaž Kačičnik for the illustrations and the Ministry of Tourism and Antiquity in Egypt and the inspectorate of the Red Sea The mission is funded by the Institut français d'archéologie orientale (Cairo) the Centre national de la recherche scientifique (HiSoMA the French Ministry of European and Foreign affairs funded by the European Research Council (ERC-2017-STG - No HTML tags allowed- Web page URLs will display as text only- Lines and paragraphs break automatically- Attachments Your email address will be used in order to notify you when your comment has been reviewed by the moderator and in case the author(s) of the article or the moderator need to contact you directly shared ownership in or any close relationship with any organisation whose interests may be affected by the publication of the response Please also list any non-financial associations or interests (personal religious or other) that a reasonable reader would want to know about in relation to the submitted work This pertains to all the authors of the piece With a selection of 109 works belonging to the collection of the New York architect this exhibition is the first to present the work of Odilon Redon (Bordeaux Redon is without doubt one of the figures who helped to forge the art of the 20th century he anticipated the dreamlike conception of Surrealism He was a visionary Symbolist who never considered himself a member of any group a regular in the gatherings at Stéphane Mallarmé's house and a key figure in binding together the Nabis he differed from the Impressionists in trying to paint also what he did not see: dreams imaginings and his "visions" of the unreal and invented Redon translated classical themes into dream imagery establishing a bridge between nineteenth-century Romanticism and twentieth-century Surrealism The works in the exhibition allow us to follow his evolution from his "black" pieces lithographs or charcoal drawings that he himself called "my shadows" mutations and transpositions on the border between the conscious and the unconscious with a freely composed art where everything is invaded by broad ranges of colour and which in turn illustrates a huge variety of subjects: landscapes flowers and mythological and mystical motifs Link IconCopy linkFacebook LogoShare on FacebookXShare on XEmailShare via EmailLink copied to clipboardThe perfect gift for red wine lovers for around $50It's rare that you can score this level of quality for under $50 Wine makes a terrific gift since you can pick virtually any budget and treat someone to a small luxury they might not otherwise indulge in themselves Fifty dollars may not go that far these days in other types of goods but can still get you a lovely bottle of wine There are so many options out there though that the challenge is how to pick the right one There are plenty of well-made wines available for less than $25 like those we feature in this column each week gifting is a circumstance where spending more makes perfect sense so we make an exception once per year to recommend something at a higher price point Chateauneuf-du-Pape is a truly unique wine appellation in the south of France that produces the richest and most luxurious wines of the southern Rhône Valley It is also a winter wine in every way — a dense red that pairs best with slow-cooked meats The Southern Rhône is famous for red blends that are almost invariably dominated by the grenache noir grape entry-level wines carry the name of the larger region while the top wines are named for smaller villages that have earned a reputation for producing superior wines where Châteauneuf-du-Pape is the granddaddy of them all This is because this subregion’s vines grow in uncommonly rocky and windy terrain that produces very high quality fruit at unusually high degrees of ripeness for a European region The resulting wines like this one feature flavors of dried and brandied fruit like figs and cherries with a distinctive layer of herbs like rosemary and spices like white pepper that are a heart-warming treat on the coldest nights of the year www.totalwine.com/ Staatliche Museen zu Berlin Les Fleurs du Mal (The Flowers of Evil) by Charles Baudelaire is one of the milestones of world literature the volume caused a scandal that led to Baudelaire being taken to court Despite these less than auspicious beginnings they laid the foundations for a new aesthetic that overturned the traditional idea of the oneness of the beautiful and the good Taking Odilon Redon’s charcoal drawing Fleur du Mal (c 1890) in the Scharf-Gerstenberg Collection as its starting point the exhibition takes the visitor on a journey through the art of the early modernist period all the way to contemporary works that shed light on the various aspects of Baudelaire’s aesthetics as well as its after- and side effects In addition to a small selection of works that were created as a direct response to his poems the exhibition focuses on specific themes that are central to Les Fleurs du Mal a subject to which he devoted a large part of his poetry the consolations of eroticism and intoxication but also the lure of saccharine surrogates or kitsch and the aestheticization of disease and decay the rampant and the luxuriantly efflorescent plays an important role here For it is often exaggeration that tips the balance between good and evil A catalogue accompanying the exhibition has been published by Sandstein-Verlag director of the Sammlung Scharf-Gerstenberg A special exhibition by the Nationalgalerie – Staatliche Museen zu Berlin Richard-Wagner-Platz S-Bahn: Westend Bus: Schloss Charlottenburg Sun 11:00 - 18:00Mon closedTue closedWed 11:00 - 18:00Thu 11:00 - 18:00Fri 11:00 - 18:00Sat 11:00 - 18:00 Special opening hours during public holidays Tel 030 - 266 42 42 42 (Mon - Fri, 9 am - 4 pm)Questions | Bookings | Feedback Press release Exhibition catalogue in the Staatliche Museen zu Berlin webshop The Local Europe ABVästmannagatan 43113 25 StockholmSweden The mayor of Redon told Franceinfo that the waters are expected to start receding over the weekend after large parts of the historic Brittany town were submerged Officials expect the flood waters to peak at around 5.36m comparable to the floods of 1995 and 2001 – but lower than the historic high of 5.46m along with those of neighbouring Morbihan and Loire-Atlantique Eure and Sarthe – are on orange flood alert READ ALSO Explained: How France’s weather warning system works No fatalities or injuries have been reported in the flood zones but some 1,600 people living in two flooded areas in Ille-et-Vilaine and Loire-Atlantique were forced to evacuate their homes as the waters rose Minister of Ecological Transition Agnès Pannier-Runacher has said that a catastrophe naturelle will be declared in the coming days allowing those affected to be adequately compensated for damage to property Rail transport in the region has been badly affected by the floods with travel between Rennes and Nantes and between Rennes and towns in south Brittany cut by the floods in Redon Trains are running between Nantes and Rennes SNCF had planned for a resumption in travel on Saturday but – because the flood waters have yet to peak it is now looking to resume services on Monday You can stay updated on the status of nearby rivers by going to the vigicrues.gouv.fr website The flooding experienced in the Brittany capital of Rennes over the weekend is the worst since the city's historic floods of 1981 Please log in here to leave a comment a rationalist skeptic—British politician and writer Edward Bulwer-Lytton’s (1803–1873) short story La Maison hantée (The Haunted and the Haunters; Or 1859) is the perfect textual source for Odilon Redon’s lithographic accompaniment printed during a period when the artist was working with occult circles in Paris.1 The artist Odilon Redon (1840–1916) is perhaps best known for his avant-garde Symbolist drawings and lithographs in the late-nineteenth century.2 Because there is no authoritative way to approach Redon I shall focus on his career from the mid-1880s to 1890s after the artist had achieved recognition on the heels of his mention in French novelist and art critic J Huysmans’s 1884 novel À rebours (Against Nature) This is the period when Redon was pulled into the ambit of the occult and mystical circles in Paris and his art became noticeably more Spiritist Spiritism was a Victorian-era movement that believed in reincarnation and communication with the dead via spiritual “mediums.”3 At this point in his career as a professional printmaker Redon shied away from producing illustrative prints commissioned Redon to illustrate his translation of the text for French occultist Journal L’Initiation in 1896.4 Illustrating the story enabled Redon to articulate a new position for himself as artist I shall argue that Redon uses the language of Victorian Spiritism and Spirit photography in his lithographic series La Maison hantée Redon refashions his identity as artist-cum-medium vis-à-vis the late Bulwer-Lytton’s narrative the French translation of which the artist illustrates using lithography.5 the Decadent movement’s literary bend towards excess and artifice was espoused in works by authors such as nineteenth-century American writer and poet Edgar Allan Poe and J Artists who ascribed to these cultural movements believed spirits could be discerned through a variety of senses or sight; frozen scenes filled with anticipation or vague horror amplify this effect The subtitle of the original English edition of the text The House and the Brain,” implies a metaphor of Bulwer-Lytton’s own mind being haunted by his characters the lithographer playfully continues this metaphor through evoking the British haunting his own creative mind the artist emphasizes the visual and proprioceptive senses of the ghost narrative facilitating the viewers’ access to the story as if he were a Spiritist “medium.” His choices override his role as an illustrator commissioned by Parisian occult circles and instead focus on horror and dread Bulwer-Lytton’s novella begins when a skeptical rational-minded narrator who does not believe in ghosts spends a night in a haunted house to disprove the idea of spirits he ends up encountering spirits that become more and more insistent in their presence he discovers a cache of secret letters in the attic detailing the murder of a child and its concomitant curse that haunts the house The final denouement is the uncovering of a secret chamber filled with occult paraphernalia; the narrator destroys the room and exorcizes the house of its spirits Redon presents a different narrative version through his reordering and visual reframing of the tale and subsequently asserts his own narrative authority over the text I saw the Vaporous Contours of a Human Form,” shows the ghostly contour of a seated woman under a looming vaporous presence (fig the print portfolio opens with a scene that happens near the end of the plot By introducing the scene in the beginning of the portfolio and Redon’s mediation reveals the spirit’s identity The textual narrative is restructured so the identity of the woman as murderess is revealed in the first print in contrast to Bulwer-Lytton’s text where it happens near the end Redon’s calling forth of the scene at this point becomes a thematic reorientation of the novella whereby the eerie presence of the spirits themselves are the focus a soft and ghostly hand touching some letters on a table augurs the arrival of the “hideous larvae” (figs Ghostly hands were often dematerialized and portent of things to come Redon uses the transfer crayon to firmly draw in the outline of the hand and fingers The figural emphasis and grisaille shadowing of the hands suggest the soft tactility of the hand lifting the papers which evokes a sense of calm and gentleness; this is utterly transmogrified into a harsh and savage sensation with the following “Larvae” folio while the hand is written about in the novella as a solid “hand of flesh of blood,”—even the caption of Redon’s print reaffirms this—Redon’s depiction of “solid flesh” into transparent ephemera heightens the anxiety triggered by the opaquely-rendered demonic larvae the apparition of the murderess appears right after the ghostly hands But Redon skips over the revelation of the murderer’s identity and instead subjects the viewer to the onslaught of demonic forms that happen only after the murderer’s identity is revealed The choice in pairing the ghostly hands and the demonic larvae is again a re-orientation of the narrative to instead focus on sensations The ethereal hands succeeded by the terrifying larval results in a mood adjustment from the calm to the frenetic The larvae come to life through the explosively dynamic marks that constitute their form Redon draws attention to the larvae as the apex and fruition of the sensation of dread that has been accumulating throughout the folio pages The hand visually “points” the way forward to the next scene It is not through image sequencing alone that Redon claims an identity as a medium and visually communicates the fear and dread of the scene Redon’s printmaking praxis can also be seen as an ability that comes from within Unlike the indirect process of drawing onto a lithographic stone which was printed “as it appears.”9 Like automatic writing in Spiritism the artist acts as amanuensis for the spirit driving his work though he is ultimately the one responsible for its coming into being.10 Examples of this are the aggressive sgraffito (scratching) found all over his prints In “Hand of Flesh and Blood…,” Redon compulsively adds the sgraffito that gives the print a heightened import The otherwise oppressive darkness of the print is relieved by both bold and fine sgraffito lines which emphasize the unnatural nature of the ghostly hands This “automatic drawing” leaves the imprint of the maker upon the print Redon’s erratic sgraffito also delineates the form of a spirit in “I saw a Flash of Light Close examination shows that the amorphous “spirit” is scratched out in all different directions as if it were charcoal scraped from the paper This aggressive scratching in Redon’s work also connects the viewer directly to the artist’s working process Despite his reputation for producing lithographs Redon was notorious for disliking the lithographic stone Calling it “cantankerous and peevish,” Redon much preferred the medium of charcoal which he deemed more “direct” and “sincere” than the lithographic stone When the popularization of transfer paper in the mid-nineteenth century allowed the artist to draw first upon paper before transferring the drawing to the lithography stone Redon was exceptionally able to connect with the medium of printmaking through expressive mark making Transfer lithographs were a much more immediate way of graphic expression and captured the texture of the paper in ways that the lithographic stone could not One of the most visually evocative sources for La Maison hantée was the incorporation of effects used in Spirit Photography Spirit Photography was the Victorian practice of capturing purported “spirits” through the fraudulent practice of double exposure photographs.11 For example Redon uses ghostly transparency reminiscent of Spirit photographs in his “Hand” print This is in contrast with the text in which the hand is described to be solid as if “it was a hand of flesh and blood.” The dissolution or manifestation of extremities is a common feature in the photographic practices of Spiritism where either the extremities such as hands and feet dissolve into the background or their ghostly transparency is emphasized through their contact with something solid.12 Similarly it is against the physical opacity of the letters as a backdrop that the transparency of the hand is revealed This connects to the Spiritist precept that it is only through contact with the living that the dead can come to life The ephemeral transparency of ghostly bodies against darker solid bodies was a visual rhetoric Redon adopted to give his spirits agentic life Redon calls these spirits to life and gives them a platform to be seen in a world where they would otherwise go unnoticed in “Flash of Light,” Redon refers to the indirect presence of a different type of spirit altogether This is comparable to the photographs of Spiritist photographer John Watt Beattie (1859–1930) was able to capture spirit “anomalies.”13 Beattie did not claim to capture spirits themselves but rather the flashes of light and abstract light forms that he believed indicated the presence of a spirit although Redon’s abstract indication of light is meant to invoke a spirit it functions similarly to a photographic print as a “witness” to spiritual activity present Both spirit photography and lithography required a “spiritual medium” or facilitator to bring forth the spirits Spirit photographers frequently acted out as the medium as if in a séance the lithographic print requires the mediation of the artist (Redon) and his employee The collaborative nature of both men bringing forth the spirits in the series recalls the communal effort of a photographic séance such as Beattie’s the product of Redon and Clot’s séance is delivered through the completely different medium of lithography making Redon one of few artists to treat lithographic printmaking as spontaneous and a site for the resurrection of spirits I have discerned the various Spiritist ideas Redon drew from and reconfigured for his purposes By examining these slivers of Redon’s work I argue that this was an important period in his professional career when he was making the transition from commercial illustrator to esteemed artist and was developing his interest in themes of the occult This portfolio would be one of his last lithographic albums before he turned to charcoal and oil as his primary media In these lithographs for Philipon’s French translation of Bulwer-Lytton’s novella Redon explored his own identity and capabilities as a creative artist and “medium.” Xiaoli Pan is a second-year PhD student studying medieval art at Case Western Reserve University Her major interests are medieval and early modern medical and anatomical imagery images of disease as representations of bioethics Originally Bulwer-Lytton’s story was published in Blackwood’s Magazine in 1859 It was then published in book form in Volume X of Tales from Blackwood (1860) translated the story for the Occult journal L’Initiation in 1896 and he commissioned Redon to make the series of prints to accompany the translation Philipon was a patron and close friend of Redon’s and it is primarily through figures like Philipon that Redon was connected to the Occult circles in Paris at that time By 1893 Redon had moved away from the Symbolist movement and was taking commissions and displaying his art within the occult circles—usually affluent The story was again published in 1864 by Routledge where Bulwer-Lytton shortened the ending Given that the closing plate of the print series ends with the portrait of one of the murderers Philipon was probably working from the short version of the story “‘The Haunted and the Haunters’: Bulwer Lytton’s Philosophical Ghost Story,” Nineteenth-Century Contexts 28 Prince of Dreams: 1840–1916 (Chicago: The Art Institute of Chicago Even though it was commissioned by members of the Parisian occult he moved in these circles because they were part of his patronage circle Although Philipon’s choice in selecting and translating the text would show how Bulwer-Lytton’s text connects with the Parisian occult Redon was working from Philipon’s translation exclusively and Philipon gave him carte blanche to interpret the text visually I cannot say that Redon was influenced by occult ideas except that this was the context and space in which he was working Redon was instead using the earlier visual vocabulary of spiritism in this print series The Bulwer-Lytton text and French translation are the same however for the purposes of this paper I shall refer to Philipon’s translation as the “Bulwer-Lytton text.” A full analysis of Bulwer-Lytton’s text and its placement within the genre of nineteenth-century gothic literature is beyond the scope of this essay Mark Knight has persuasively cited the complexity of Bulwer-Lytton’s text in his 2006 article “’The Haunted and the Haunters’: Bulwer Lytton’s Philosophical Ghost Story,” especially in dealing with themes of materialism versus idealism and the relationship between the supernatural and science that were prevalent during the Victorian period While Redon would have been aware of these readings a letter to his friend Andre Bonger during the time he was making the print series indicates that Redon was more concerned with the feelings of vague horror the novel imparted does not exceed the limits and boundary of purely literary art Perhaps [Philipon] overestimated my art when he asked me to try and do something with this text-can I capture the nature The Enchanted Stone: The Graphic Worlds of Odilon Redon (Melbourne Faces of the Living Dead: The Belief in Spirit Photography (London: The British Library Beyond the Visible: The Art of Odilon Redon (New York: Museum of Modern Art Photography and Spirit (London: Reaktion Books “Phantom Images and Modern Manifestations: Spirit Photography and Photography’s Uncanny” in Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era (New York: Bloomsbury An example would be William Mumler’s famous photograph of Mary Todd Lincoln with the hands of Abraham Lincoln on her shoulders The Perfect Medium: Photography and the Occult (New Haven View all posts by | Feb 6, 2025 | News, Stocks and testing of electronic and electro-mechanical solutions jumped up to 5 percent upon entering into a Consortium Agreement with Redon Systems Pvt Ltd for a manufacturing partnership the shares of Apollo Micro Systems Ltd rose upto 5 percent making a high of Rs 134.90 per share compared to its previous closing price of Rs Apollo Micro Systems Ltd specializing in the design and testing of electronic and electro-mechanical solutions has entered into a Consortium Agreement with Redon Systems Pvt Ltd to collaborate on a manufacturing partnership The objective of this agreement is to leverage the combined manufacturing capabilities for the procurement of Containerized Automatic Landing Module systems Apollo and Redon together through this Consortium Agreement would jointly manufacture systems for Loitering Munition and Allied Systems Redon Systems Pvt Ltd is into the design and manufacturing of Loitering Munition having successfully demonstrated its products to the Indian Armed Forces Apollo Micro Systems Ltd is a leading Indian technology company that offers solutions in sectors such as defense The company provides a wide range of products including embedded systems and satellite communication equipment.  The company largely collaborates with the Ministry of Defence government-controlled public-sector undertakings and private-sector clients like Bharat Dynamics Ltd The company’s revenue rose by 62.6 percent from Rs The views and investment tips expressed by investment experts/broking houses/rating agencies on tradebrains.in are their own and not that of the website or its management Investing in equities poses a risk of financial losses Investors must therefore exercise due caution while investing or trading in stocks Dailyraven Technologies or the author are not liable for any losses caused as a result of the decision based on this article Please consult your investment advisor before investing Best stock discovery tool with +130 filters Start your stock analysis journey with Trade Brains Portal today. Launch here Subscribe to Youtube to watch our latest stock market videos. Subscribe here SEBI REGISTERED RESEARCH ANALYST REGISTRATION NUMBER: INH000015729 For Advertisement, Press Releases, Partnerships or to get backlinks on this website, please e-mail us at [email protected] For Trade Brains Fintech Excellence 2025 Awards and Nominations contact – Visit  – tradebrainsawards.com/ Which language would you like to use this site in As President Emmanuel Macron closes the Beauvau consultations on “modernizing public security policy” “Redon: Freeparty repression” highlighting human rights violations committed by police during at the Teknival music festival in near Redon sting-ball grenades and explosive GM2L grenades at festival-goers at the unauthorized rave over a period of seven hours They then illegally destroyed the sound system and eleven police officers and dozens of participants were injured.Using interviews with a dozen people who were present as well as videos and other documents Amnesty International France has analysed the law enforcement response to this event in terms of international human rights law.The evidence from the Redon policing operation indicates that the use of force was neither necessary nor proportionate as is required by both French law and the United Nation’s basic principles on the use of force.“It is unacceptable that law enforcement operations a fortiori to disperse a simple festival gathering Whether the banning of the gathering was legitimate or not law enforcement officers did not respect the principles of necessity and proportionality on the use of force under international law without directions on how to evacuate the site Grenades were thrown at people who were gathered for a party in extremely dangerous and low-visibility conditions Neither a ban on the festival nor violence by some participants towards the police can justify the failure of the state and its agents to respect human rights in all circumstances The Redon incident is not an isolated case was killed during a night-time police operation at a party in Nantes and over recent years Amnesty International has been highlighting numerous serious injuries sustained by protesters across France This context of repeated cases of excessive use of force in policing calls for urgent responses from the French authorities to put an end to human rights violations.“In the face of repeated scenes of violence and serious injuries during law enforcement operations it is high time for de-escalation strategies to be implemented The police must respect human rights and the UN’s basic principles on the use of force to guarantee people’s safety Their legitimacy is at stake: the public’s trust in them risks being undermined when force is used excessively illegally or abusively,” said Cécile Coudriou.Although a preliminary investigation was launched in the case of the young man who lost his hand the lack of critical assessment on the operation along with the absence of an independent mechanism for investigating allegations of police violence in France The police officers and their superiors should be held to account for this operation and the use of excessive force examined.“When it comes to excessive abusive or otherwise unlawful use of force the main factor contributing to such behaviour is the prevalence of impunity Law enforcement officials are more likely to break laws rules and regulations when they do not fear the consequences of their actions,” said Cécile Coudriou.Amnesty International is calling for the creation of an independent body to investigate complaints against law enforcement officers The organisation is also asking the French government to ban the use of explosive grenades in police operations and to review intervention tactics to ensure that they are based on dialogue and de-escalation strategies in order to reduce the use of force and the risk of human rights violations BACKGROUND29.06.21 I Serious injury in Redon: Amnesty International France calls on the French Interior Minister to hold an impartial and independent enquiry (in French)22.09.20 I Report: New policing framework: a missed opportunity (in French)Extracts from the report’s recommendations The Redon case took place in a context of repeated cases of excessive use of force in law enforcement operations This situation calls for urgent responses from the French authorities to put an end to these human rights violations:• ensure that a judicial enquiry is launched as soon as possible to shed light on police interventions the use of force and the injuries inflicted on the participants at this event negotiation and communication techniques and procedures in order to be able to resolve situations without resorting to force; • create an independent body with responsibility for investigating complaints against law enforcement officers.TO SEE THE REPORT VISIT https://www.amnesty.fr/liberte-d-expression/actualites/france-violences-policieres-pendant-une-freeparty-redon Together we can fight for human rights everywhere Your donation can transform the lives of millions If you are talented and passionate about human rights then Amnesty International wants to hear from you Find all the information you need—plus helpful tips—to plan your visit Explore the works in our collection and delve deeper into their stories Join us for a wide range of programs—there's something for visitors of all ages Sold by the artist to Amboise Vollard (1867- 1939) by March 1940 [according to Wildenstein 1992]; sold to the Art Institute Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here symbolic art of Odilon Redon drew its inspiration from the internal world of his imagination For years this student of Rodolphe Bresdin worked only in black and white producing powerful and haunting charcoal drawings began to receive critical and public acclaim in the 1890s Redon discovered the marvels of color through the use of pastel His immersion in color and this new technique brought about a change in the artist’s approach to his subject matter as well Flower Clouds is one of a number of pastels executed around 1905 that are dominated by spiritual overtones The dreamlike skiff may reflect Redon’s internal voyage replacing the nocturnal turmoil of the earlier Noirs with a more hopeful vision The luminous intensity of the pastels echoes the ardent spirituality of the theme February 1904 [Chicago 1994]; Charles Waltner You must join the virtual exhibition queue when you arrive Gratefully built with ACNLPatternTool Redon was fascinated with Darwinian biology and enjoyed a close friendship with Armand Clavaud the curator of the botanical gardens in his hometown of Bordeaux In late floral still lifes such as this one the artist demonstrated a naturalist’s sense of wonder as well as a richly inventive imagination combining many different types of blooms and foliage in an effervescent display which appears in a number of Redon's flower pictures was made and presented to him by the ceramicist Marie Botkin around 1900 As part of the Met's Open Access policy Public domain data for this object can also be accessed using the Met's Open Access API Use your arrow keys to navigate the tabs below The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form The Museum looks forward to receiving your comments a recent acquisition that was probably inspired by Rodin's The Gates of Hell; and paintings by the muralist Pierre Puvis de Chavannes who was a great friend of Rodin and shared the sculptor's passion for classical antiquity.» Drawing by Senior Exhibition Designer Zoe Florence The portraits were intended to complement the head studies at left but the paintings didn't speak to the sculptures stylistically or historically nor did they command the wall in the way I would have liked An early diagram showing experimentation with hanging paintings by Édouard Manet Right: Odilon Redon (French, 1840–1916). Pandora So instead I tried The Met's two Odilon Redon paintings in the spot: The Chariot of Apollo and Pandora Redon and Rodin were exact contemporaries—they were both born in 1840 and died within a year of each other The mythological subjects of Redon's paintings particularly the graceful female nude in Pandora were a nice accompaniment to Cupid and Psyche Redon's emphasis on shape and contour over precise detail textured application of paint harmonized with the sculptures in this section of the gallery But the pairing lacked a strong historical basis: although Redon and Rodin were contemporaries they don't appear to have moved in the same circles I wondered if we could find something that communicated more directly the context in which Rodin worked I discovered that Rodin owned a painting by Renoir of a female nude Left: Auguste Renoir (French, 1841–1919). Nude in the Sunlight I wondered if I should I fill it with another Renoir He and Rodin were part of the same artistic milieu and appreciated each other's work Camille Pissarro (French, 1830–1903). Bather in the Woods a painting that I like very much and that had been in storage for a while This was a great opportunity to put it on view Joaquín Sorolla y Bastida (Spanish, 1863–1923). The Bath, Jávea Bronze cast of a plaster given as a gift to Joaquín Sorolla y Bastida The high-keyed palette and the subject of The Bath Jávea worked well with Renoir's Reclining Nude and brown paint in the rocks and sea provided a nice transition to the Monet riverscape on the other side of Cupid and Psyche and the interplay of light and shadow corresponded well with Rodin's sculptures Sorolla visited Rodin's studio in 1913 and received a statuette of a female nude as a souvenir—a history that highlights the sculptor's international fame in the early 20th century Here is the current hang in Rodin at The Met: The installation of paintings and sculpture will remain even after Rodin at The Met officially closes on January 15 and we'll continue to experiment with the display bringing in different works and exploring new connections Read a blog series on Rodin at Now at The Met See more digital content related to Rodin at The Met Heilbrunn Timeline of Art History: "Auguste Rodin" The 18th century is regarded as the golden age of pastel A medium second to none when it comes to rendering the effects of texture and velvety complexions use of pastel was often restricted to portraiture Although it fell out of fashion at the time of the French Revolution pastel enjoyed a revival between the second half of the 19th and early 20th century The range of available pastels was considerably broadened in terms of shades and textures alike so opening the door to all types of experiments and practices The Musée d’Orsay’s collection bears ample witness to this revival pastel is a unique art providing an immediate relationship with the material Composed of pure pigments it rests in suspension on the paper’s or canvas’ grain The resulting vibration is what creates its beauty It is a multifaceted medium that encompasses all possible modulations from misty blurring to the most vigorous crosshatching It is significant that an artist of Degas’ stature used it almost exclusively from 1888-90 onwards his choice of the medium marking the culmination of his tireless research on drawing and color The exhibition will be organized around eight major themes emphasizing the revival of pastel that began in the second half of the 19th century to symbolist artists’ chimeras by way of landscape and social change the itinerary will include a wide range of artists and spotlights works by Millet Sold by the artist to Ambroise Vollard (1867-1939) An unexpected moment shocked the audience and the residents of "Big Brother VIP Albania," when Gili announced her and Redon's withdrawal from the competition In an emotional statement in front of the residents Gili clarified that their departure was a joint decision "Redon is not able to cope with the isolation and dynamics of the game Thank you for the love and support you have given us," said Gili A post shared by Big Brother Alb VIP Edition (@bigbrotheralb_vip) The reactions of the residents were immediate and full of emotions as some of them expressed surprise at the news while others seemed undecided to believe it Gili insisted that Redon's departure was a well-thought-out decision because of the difficulties he had coping with isolation She added that she could not continue the game without his presence Created by The exhibition "Pastels, from Millet to Redon" is presented until July 2 2023 in the Seine gallery of the Musée d'Orsay it explores an incomparable collection of drawings and paintings made with this fragile medium by Millet Discover below how Odilon Redon made the best of pastel in his works Redon first distinguished himself with his “noirs” which shared the powdery aspect of charcoal whose capacity to absorb light creates a similar effect of depth the transition from black to colour occurred gradually and charcoal often remained present in his pastels He also frequently used pastel to enhance his paintings as well as Conté pencils and pastel pencils to create layered effects He used parallel lines and hatching to create vibration and energy in colour at its most intense which often affected colour and flattened the pigments’ bloom However he paid great attention to the framing of his pastels to preserve them Metrics details The artist Odilon Redon (1840–1916) was a French symbolist known for both the dark surreal prints and drawings he created in the first half of his career as well as the colorful pastel works that characterized the second half of his career This study examines two drawings by Redon in the J Paul Getty Museum collection—Apparition (ca 1894–1895)—executed during the period in his career in which he was transitioning between these two modes In order to better understand the materials the artist chose and the methods by which he applied them macroscopic characterization techniques—macro X-ray fluorescence (MA-XRF) scanning and reflectance imaging spectroscopy (RIS)—were employed These techniques allowed the materials present to be distinguished and the relationship between their applications visualized Coupled with fiber optic reflectance spectroscopy (FORS) and Raman microspectroscopy with principal component analysis (PCA) these results give new insight into the materials and methods used by Redon Six distinct black drawing materials and a yellow pastel were identified in Apparition underscoring the complexity of Redon’s noir drawings As he began using color pastel more frequently he seemed to use a simplified black palette; in Head within an Aureole the artist used only two black drawing materials and three color pastels (two pink and one blue) This research provides a framework for future noninvasive technical analysis of works by Redon in other collections as well as mixed media drawings more generally A better understanding of the shift in the artist’s palette over his career could aid in determination of if The current study was thus developed to expand upon the earlier foundational work by employing these new technologies specifically macro X-ray fluorescence (MA-XRF) scanning and reflectance imaging spectroscopy (RIS) as well as site-specific Raman microspectroscopy with principal component analysis (PCA) and fiber optic reflectance spectroscopy (FORS) to study the two selected drawings by Redon these four noninvasive analytical techniques provide both elemental and molecular information on inorganic and organic components and serve as a generalized framework for the technical analysis of works by Redon in order to better understand his materials and methods of media application and how they changed over the course of his career as an artist this work shows that this research framework could be a powerful tool for analysis of mixed media works on paper in general even those executed primarily using black drawing materials Adobe Photoshop was used to adjust the brightness and gamma and to colorize element distribution maps when necessary A fiber optics spectroradiometer (FieldSpec4 Hi-Res ASD Inc.) was used to collect spectral reflectance information on each drawing in the range of 350–2500 nm with 1.4 nm and 2.0 nm spectral sampling over the range of 350–1000 nm and 1000–2500 nm The spectral resolution is reported as 3 nm at 700 nm and 8 nm at 1400 nm and 2100 nm The optics fiber was held normal to the artwork with the instrument light held at ~ 45° to surface normal Each measurement consisted of 64 accumulations with 8 ms integration per accumulation The spectrometer was calibrated against a white (99%) Spectralon standard MA-XRF distribution maps of Ca-K, Fe-K, P-K, Cu-K, and Zn-K in Apparition. Scan parameters: 330 μm spot size, 350 μm step size, 8 ms dwell time 52.0 × 37.8 cm area imaged. An image showing the Ca-K/Fe-K ratio is presented on a color scale to help visualize those areas containing differing proportions of calcium and iron. The horizontal line seen exclusively in the Fe-K map is highlighted (green arrow) MA-XRF distribution maps of Ti-K, Si-K, K-K and Zn-K in a detail of Apparition. Scan parameters: 120 μm spot size, 200 μm step size, 12 ms dwell time 17.1 × 14.8 cm area imaged. The zinc-containing wrinkles seem to also contain potassium (green arrows), while two potassium-containing regions appear uncorrelated to drawing media or zinc (red arrows) MA-XRF distribution maps of Ca-K, Fe-K, Cr-K, Hg-L, Pb-L, and Zn-K in Head within an Aureole. Scan parameters: 450 μm spot size, 420 μm step size, 8 ms dwell time 52.4 × 37.2 cm area imaged MA-XRF distribution map of S-K in a detail of Head within an Aureole. Scan parameters: 120 μm spot size, 150 μm step size, 8 ms dwell time 17.1 × 12.7 cm area imaged RIS of Apparition. (Left) Detail color image. (Center) False-color infrared reflectogram created using 1575, 1352, and 1150 nm bands as RGB channels, respectively. (Right) Plot of spectra from the paper (green), Black 1 (magenta), brown charcoal or Black 5 (blue), and black charcoal or Black 6 (red) RIS of Head within an Aureole. (Left) Detail color image. (Right) False-color infrared reflectogram created using 1575, 1352, and 1150 nm bands as RGB channels, respectively together with the phosphorous and copper maps five additional distinct drawing materials and their locations were identified in Apparition This chalk-like material was used widely across the composition—it can be found in the head and beard of the figure and the majority of the radiating strokes throughout the drawing this line appears to be continuous across the composition although it has been covered over by another black material on the left side of the drawing A third black pastel-like material (Black 4) is identifiable through the detection of minor quantities of copper. The copper distribution map shows that this black was used in both the bold strokes partially covering the rosette and in darkened areas on the sides of the head of the figure (see Cu-K map in Fig. 2) The large pools of zinc-containing media on the front of the drawing could be explained by dispersion of fixative around the edges of the paper from spray application of fixative to the back Because zinc and chlorine are not found in detectable amounts in areas of the drawing with exposed support it is not likely that the paper itself or its sizing is responsible for the observed MA-XRF element distribution This also suggests that in this particular case Redon fixed the back exclusively rather than both sides of the drawing the pedestal and neck of the aureole obscured by application of pink media are more clearly visible using infrared RIS it should be noted that the position of drawing materials that are more heavily fixed such as charcoals and chalks employed in earlier stages (Black 1 and Black 6 of Apparition and Black B of Head within an Aureole) may have a positively skewed PC2 score compared to the unfixed reference materials analyzed in the PCA plot A slightly brown vine charcoal (Black 5) was used to block out the body of the figure and to create a circular shape at the top of the drawing followed by the creation of the rosette and the majority of the details of the figure using a fabricated chalk (Black 1) Many of the radial strokes around these two objects were created using both of these drawing materials and some shaded regions in the foreground and the upper right corner of the drawing were executed using an iron-rich black pastel (Black 3) The horizontal line was partially covered using the fabricated chalk indicating that this black pastel was part of the initial creation of Apparition bone black pastel (Black 2) and copper-containing pastel (Black 4) are superficial to all other media it is unclear whether they were added as finishing touches to the original composition or at a later point in time Redon used the yellow pastel to add a few radial strokes around the figure and also blended the pastel into the eye and forehead regions of the figure to extend his palette further The bone black pastel was added to darken the majority of the foreground of the composition while the copper-containing pastel was employed to darken the sides of the head of the figure and to add strokes over the rosette Redon achieved this complex layering without disturbing the lower layers by intermittently fixing both the front and back of the drawing evident both visually and in select MA-XRF element distribution maps but was abandoned in favor of the gouache-like alizarin-based material (Pink B) likely applied by pastel wetting Flecks of blue were added to the aureole during this color application phase using an ultramarine pastel Odilon Redon is known to have had a great appreciation for the color black even after his shift towards more and more colorful compositions as well as other organic materials like the fixative could be more definitively identified by targeted minimally-invasive analyses such as Fourier-transform infrared spectroscopy or chromatography which are outside the scope of this work using noninvasive methods of analysis shows the potential of these techniques to distinguish between black drawing materials within a single object based on both pigment-based and accessory chemical makeup in Apparition a total of six black drawing materials were identified and mapped across the composition the array of drawing materials used by Redon many of which contain synthetic colorants typical of the late nineteenth century Further investigation into when these synthetic colorants became available and their historic recipes could help in their unambiguous identification in works of art This could also potentially help determine when they may have been utilized in a specific work of art especially important with artists such as Redon who were known to rework previously completed objects years later The work presented here on these two drawings provides a glimpse into this transitional period of Redon’s career but of course is insufficient in scope to draw firm conclusions about how his materials and drawing methods may have changed or evolved this research framework will be applied by other institutions to create a larger study set which could further our understanding of Redon’s drawing materials and working methods and aid in the dating of works within his oeuvre Data are available from the authors upon reasonable request Beneath the surface: Redon’s methods and materials Chicago: The Art Institute of Chicago; 1994 A technical investigation of Odilon Redon’s pastels and noirs Near-infrared spectroscopic imaging in art conservation: investigation of drawing constituents Surface shape studies of the art of Paul Gauguin Technical exploration of Edgar Degas’s Ballet Scene: a late pastel on tracing paper Sketch layer separation in multi-spectral historical document images Paul Gauguin’s Noa Noa prints: multi-analytical characterization of the printmaking techniques and materials Revealing Degas’s process and material choices in a late pastel on tracing paper with visible-to-near-infrared reflectance imaging spectroscopy Visualization of a lost painting by Vincent van Gogh using synchrotron radiation based X-ray fluorescence elemental mapping Revealing hidden paint layers in oil paintings by means of scanning macro-XRF: a mock-up study based on Rembrandt’s “An old man in military costume” Liotard’s Pastels: techniques of an 18th-century pastellist In: Studying 18th-century paintings and art on paper Rembrandt’s An Old Man in Military Costume: the underlying image re-examined A multiplatform code for the analysis of energy-dispersive X-ray fluorescence spectra Strategies for processing mega-pixel X-ray fluorescence hyperspectral data: a case study on a version of Caravaggio’s painting Supper at Emmaus Multispectral imaging system for the mapping of pigments in works of art by use of principal-component analysis Image spectroscopy mapping technique for non-invasive analysis of paintings Near infrared reflectance imaging spectroscopy to map paint binders in situ on illuminated manuscripts Mapping of egg yolk and animal skin glue paint binders in early renaissance paintings using near infrared reflectance imaging spectroscopy Automatic registration and mosaicking of technical images of Old Master paintings Visible and infrared imaging spectroscopy of paintings and improved reflectography Rembrandt’s An Old Man in Military Costume: combining hyperspectral and MA-XRF imaging to understand how two paintings were painted on a single panel Interpretation of Raman spectra of disordered and amorphous carbon Study of Gustave Moreau’s black drawings: identification of the graphic materials by Raman microspectrometry and PIXE Raman microspectroscopy of soot and related carbonaceous materials: spectral analysis and structural information Micro-Raman spectroscopy of carbon-based black pigments Identification of carbon-based black pigments in four South American polychrome wooden sculptures by Raman microscopy Raman spectroscopy for the investigation of carbon-based black pigments Multivariate analysis of Raman spectra of carbonaceous black drawing media for the in situ identification of historic artist materials Reflectance spectrophotometry for measurement of colour change A colour analysis of the Brancacci Chapel frescoes Characterisation of colourants on illuminated manuscripts by portable fibre optic UV–visible–NIR reflectance spectrophotometry The examination of drawings by Georges Seurat using Fourier transform infrared micro-spectroscopy (Micro-FTIR) Neutron activation autoradiography and scanning macro-XRF of Rembrandt van Rijn’s Susanna and the Elders (Gemäldegalerie Berlin): a comparison of two methods for imaging of historical paintings with elemental contrast Analysis of natural and artificial ultramarine blue pigments using laser induced breakdown and pulsed Raman spectroscopy Spectrochim Acta Part A Mol Biomol Spectrosc Macro X-ray fluorescence (MA-XRF) scanning of illuminated manuscript fragments: potentialities and challenges The distillation of resins and the preparation of rosin products Paper and its constituents: a manual of technical methods and physical and chemical properties of papers Dessin au Fusain: nineteenth-century charcoal drawing materials and techniques Noir: The romance of black in 19th-century french drawings and prints Raman spectroscopic library of natural and synthetic pigments (pre- ~ 1850 AD) On-line FT-Raman and dispersive Raman spectra database of artists’ materials (e-VISART database) Chapter 1: Spectroscopy of rocks and minerals Weinheim: WILEY-VCH Verlag GmbH&Co KGaA; 2003 Seeing red: an improved protocol for the identification of madder- and cochineal-based pigments by FORS The technology of eighteenth- and nineteenth-century red lake pigments A history of the international dyestuff industry and methods of analysis of synthetic organic pigments The chemical history and progress of aniline black Characterization of Haku Maki prints from the “Poem” series using light-based techniques A practical treatise on the manufacture of colors for painting and classification of colors; the treatment of the raw materials etc Download references The authors would like to thank Harriet Stratis for engaging in visual analysis and discussion of both drawings Additionally the authors are grateful to Douglas MacLennan for assisting in RIS setup and data analysis as well as Beatriz Fonseca for interpretation of FORS results NSD and JKD collected and analyzed RIS and FORS data NSD wrote the manuscript with contributions and editing by MS All authors read and approved the final manuscript The authors declare that they have no competing interests Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations Download citation DOI: https://doi.org/10.1186/s40494-019-0286-6 Anyone you share the following link with will be able to read this content: a shareable link is not currently available for this article Sign up for the Nature Briefing newsletter — what matters in science ShareSaveCommentLifestyleArtsStrange—And Wonderful—Odilon Redon At Cleveland Museum Of ArtByChadd Scott Forbes contributors publish independent expert analyses and insights Chadd Scott covers the intersection of art and travel.Follow AuthorOct 20 08:41am EDTShareSaveCommentThis article is more than 3 years old.Violette Heymann How did a nascent Midwestern art museum end up with one of the world’s preeminent collections of work from one of the most avant-garde painters working in France at the turn of the 20th century This story begins at the 1913 International Exhibition of Modern Art The show was considered the official introduction of Modern art to Americans first in New York before traveling to Chicago and Boston no one had more work featured in the historic Armory Show–74–than Odilon Redon (1840-1916) was an early curator and future director at the Cleveland Museum of Art “(Milliken) shared Redon’s name with (Cleveland) philanthropist and early museum trustee who fell in love with his work and immediately began to collect his drawings and prints,” Britany Salsbury Cleveland Museum of Art Associate Curator of Prints and Drawings “King was known for his habit of going up and down Fifth Avenue and buying each gallery’s entire inventory of Redon prints–supposedly he was able to acquire numerous complete print portfolios by Redon—unusual since dealers would often break up the series to sell the prints individually.” Milliken and King would further work together on the acquisition of two major pastels by Redon Orpheus–considered by some historians the artist’s finest work–and Violette Heymann Doing so attracted international press for the museum which first opened its doors in 1916 These early acquisitions earned the CMA an international reputation as the most important repository of works by Redon outside France The museum continues augmenting its remarkable collection to this day More and touches of white and gray gouache on gray wove paper; 36.8 x 32.9 cm The most recent addition to the CMA’s collection of Redon artworks a charcoal drawing titled Quasimodo acquired in 2020 enjoying public display for the first time Even for an artist as enigmatic as Redon–he has been referred to as “the prince of mysterious dreams”–this picture is strange Quasimodo belongs to a group of drawings that Redon termed “noirs” for their use of black materials Redon studied briefly in Paris before rejecting his conservative training and returning to his native Bordeaux in southern France he spent a decade depicting highly original often bizarre themes executed exclusively in black ranging from inky lithographs to dense charcoal drawings Everything about this series stands in stark contrast to the colorful fanciful pastels Redon has become most famous for “One of the things that seems to have appealed to Redon most about (charcoal drawing) was its privacy; unlike painting which often involves more expensive materials and needs to be exhibited in a gallery Redon could work privately and independently with his prints and drawings,” Salsbury said “He could take on subject matter that might be more difficult to find an audience for in painting He was very innovative in how he used charcoal–he’d often combine it with other black materials and use adhesive to secure it to the paper’s surface so he could build layers on top of it.” Redon’s palette would eventually lighten dramatically into his signature style Redon’s work took a stunning turn when he discovered pastel he created colorful visions drawn from mythology he was still looking for many of the same things in a different material,” Salsbury said and choosing colored papers that changed the way that his colors appeared His primary interest seems to have always been in experimentation.” More Arts Center Foundation Collection: Gift of David Rockefeller a special loan from the Arkansas Art Center exhibited for the first time in the United States at the CMA in 1926 It is one of the artist’s most significant late paintings and demonstrative of the dramatic stylistic turn Redon took from his “noirs.” clearly prefigure Surrealism which was waiting just around the artistic corner following Redon’s death in 1916 his career straddling a rapidly-changing art world which saw the invention of Impressionism on one end and the invention of abstraction on the other “His art belongs to a movement called Symbolism and its focus on subjects taken from modern urban life “Rather than representing the world around them Which makes those speculative purchases by early CMA leadership and supporters all the more courageous in hindsight Redon’s artwork could have easily been dismissed as simply “weird,” with a more conservative course of collecting sought “I think that his work has held up after so many years because of its fascinating strangeness Although many of his early works are quite dark in theme “We get images of eyes floating in hot air balloons and so many different kinds of monsters—it’s not something many people could ever imagine let alone something we see in Modern art There’s something endlessly interesting about an artist who invents a whole world entirely of his own and lets us into it.” Christ Crowned with Thorns by Odilon Redon - Wiki Image Visiting the excellent Impressionists on Paper exhibition at the RA recently I happened upon a truly arresting image: Christ Crowned with Thorns by Odilon Redon (1840-1916) black pastel and black crayon heightened with white on buff-gold paper sees a beardless Christ's huge dark eyes meet ours from under a vast The Medusa-like coiffure snakes anarchically and viciously in all directions Here is Christ the Man of Sorrows bearing our sins with immense pathos and love His head is cocked at an angle under the weight of his burden and his right eye is dilated with the pain but there is an absolute stillness and endurance in the image and the same hue as Christ's vivid pale face The image chimes with medieval affective piety so resoundingly enacted by the crucified Christ suddenly raised on high to directly address the crowds in the Crucifixion pageant of the York Passion: Redon wrestled with the classic subject of Christ Crowned With Thorns in many other treatments and the thorns are always a redoubtable presence not least due to his dual essence: human and divine Redon belonged to the late nineteenth-century Symbolist movement Symbolism homed in on the spiritual reality underlying the material world Christ Crowned with Thorns is an example of Redon's celebrated 'noirs': spiritually infused works of charcoal or lithography executed in shades of black But he also worked in colour and the RA exhibition contains two further Redon works which resonate colourfully with Christianity 'The Golden Cell' (Profile of a Woman's Head) of 1892 composed of oil and coloured chalks with gold on paper hair and her top are all blue and she is surrounded almost entirely by gold An interesting quasi-mandorla or oval shape is started by the curve of her veil which is completed by the incursion of a golden haze The iconography evokes the Madonna and recalls the use of gold leaf in Byzantium and among the early Italian masters Le vitrail (The Stained-glass Window) juxtaposes Redon's penchant for noir effects with a luminous where some saintly figures can be hazily discerned The capital of a column shows a mournful figure The base of the next depicts another (possibly an angel) weeping black streams of tears and clasping a skull Redon is probably best known today for such dreamlike paintings which were inspired by Japanese art His work is considered a precursor of surrealism he exhibited his work with the Impressionists in their last exhibition Redon had remained relatively unknown until the appearance in 1884 of the cult novel À rebours (Against Nature) by Joris-Karl Huysmans The story features a decadent aristocrat who collected Redon's drawings which are characterised as mysterious and evocative: 'Those were the pictures bearing the signature: Odilon Redon between their gold-edged frames of unpolished pearwood … Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams These drawings defied classification; unheeding they ushered in a very special type of the fantastic.' Redon wanted to place 'the logic of the visible at the service of the invisible' In his journal A Soi-même (To Myself) he adopts the Thomist eucharistic language of substance and accidents to describe this sacramental approach: 'I have often painted before an object down to the smallest accidents of its visual appearance; but the day left me sad and with an unsatiated thirst through the recollection of the forms and I was then reassured and appeased.' The art historian Michael Gibson writes that Redon began to want his works even the ones darker in colour and subject matter to portray the triumph of light over darkness Redon described his work as ambiguous and undefinable: 'My drawings inspire in the ambiguous realm of the undetermined.' As for Huysmans and his scandalous novel À rebours which drew him into Decadent circles he was told by Barbey d'Aurevilly that after writing the novel he would have to choose between 'the muzzle of a pistol and the foot of the Cross.' Huysmans who had received a secular education and abandoned his Catholic religion in childhood returned to the Catholic Church eight years later Later novels related his study of Catholicism and religious conversion This wonderful exhibition works charts how Impressionist and Post-Impressionist artists radically transformed the future direction of art not just through their paintings but also by lifting the status of works on paper - drawings gouaches - from something preparatory to artworks in their own right Impressionists on Paper continues at the Royal Academy until 10th March 2024 Impressionists on Paper: www.royalacademy.org.uk/exhibition/impressionists-on-paper Tags: Dr Philip Crispin, Impressionists on Paper, Royal Academy, Odilon, Impressionists Historian analyses Paris Olympic Games Opening Ceremony Portsmouth: RNLI honoured at St Nicholas's Day celebration Chichester: Glyn Philpot: Flesh and Spirit Missionary sister pays tribute to her cousin Cameroon: Easter heartbreak - A deeply moving Resurrection story from the frontline Jesuit parishes to host open conversations this spring We offer publicity space for Catholic groups/organisations. See our advertising page if you would like more information ICN aims to provide speedy and accurate news coverage of all subjects of interest to Catholics and the wider Christian community As our audience increases - so do our costs You can support our journalism by advertising with us or donating to ICN View upcoming auction estimates and receive personalized email alerts for the artists you follow French author and art critic Joris-Karl Huysmans published the novel À rebours (in English: Against Nature) a tale concerning a character named Jean des Esseintes a young aristocratic aesthete who decides to turn his back on the then-modern world and all of its banalities and surround himself with only what truly and deeply appeals to the delight of his senses Alongside meticulously chosen color schemes and furnishings he also discerningly selects specific works of art from certain artists of which to hang inside his not-quite-sprawling sanctuary Huysmans included actual pieces in the work of fiction Des Esseintes’ carefully-curated collection serves a dual purpose beyond merely appeasing the ocular senses and however disparate the pieces that comprise it may seem there does exist a commonality that ties them together Rodolphe Bresdin Upon the cedar-paneled vestibule walls of the third room presented by Des Esseintes, hangs numerous prints. Two of which are by French draughtsman and engraver, Rodolphe Bresdin The first of the pair is The Comedy of Death Possessing a quality that is both moribund and fantastical the piece is both disconcerting and alluring a destitute beggar sits sprawled against the trunk of a contorted willow as a terrifying creature with appearance of an anthropomorphic stag forged from swamp-like vegetation wields an eldritch dagger springing forth from the surrounding undergrowth to relieve the poor soul from the slow-torture of his privation Another man is kept prisoner in a darkened grotto Skeletal remains are strewn about the scene alongside an assortment of strange animals that seem to multiply in number the longer the viewer looks upon the print raising his holy hands to the heavens – perhaps in a gesture of divine reassurance as a pair of skeletons dance triumphant in the nearby treetops It looked rather like the work of a primitive or an Albert Dürer of sorts composed under the influence of opium (…) The second of the pair of Bresdin prints is The Good Samaritan the piece depicts the Biblical story of the Good Samaritan tending to the stripped and beaten traveler on the road from Jerusalem to Jericho – a stretch so notorious for violent bandits that it was then-known as the ‘Way of Blood’ As the traveler’s camel waits faithful the Samaritan kneels over the unfortunate traveler with countless creatures and animals hidden amongst the undergrowth But it is the plant-life that truly gives the piece its otherworldly quality Exotic palms and ferns sprout from dense vegetation The dying or deciduous shrubs and trees woven throughout the scene are also executed in a fantastical style likely eliciting the Dürer reference from Des Esseintes This miscellany of flora makes it hard to exactly pinpoint the piece’s setting despite the fact that the story from which it is taken tells one otherwise Odilon Redon As taken with the pair of Bresdin prints as Des Esseintes is it is a selection of pieces by another French artist that hang in the same room unlike anything produced by any of his contemporaries the anthropomorphic arachnid scuttles with a smile upon its face and sports a dog-like snout in a simian face beset by jet-black fur but what makes the Smiling Spider so wrong most of them exceeding the bounds of pictorial art and creating a new type of fantasy Another of Redon’s prints that Des Esseintes proudly displays upon the room’s vestibule walls is The Prisoner (also known as Le boulet) and serves as an apt example of the ease and depth that the artist’s works can pierce into the psyche of the viewer Although the print may seem simple in what it portrays – ostensibly a bearded man about to touch an oversized ball it is what it refrains from showing that truly gives it its power or an orb of sorts – it does somehow seem to be an object of power and what will actually transpire when the man’s fingertips make contact Whatever it may be that is about to happen it certainly will be something quite bizarre indeed El Greco Christ Crucified with Toledo in the Background And this brings us to the final room of Des Esseintes’ house: the bedroom one would not be amiss to assume that his bedroom is befitted in a manner most luxurious (he did once have a live tortoise gilded and set with precious stones to bring out the desired effect in the coloring of a carpet – unfortunately Des Esseintes has chosen to take a much more ascetic approach in his choice of furnishing and décor resulting in the room resembling a monastic cell But nothing with the eccentric collector is that straight forward and even though the room may give the appearance of poverty every aspect of it is staged and dressed with the finest of materials: the walls are covered in saffron silk with strips of kingwood and the religious piece that hangs depicting Christ upon the cross is executed by none other than Theotocopuli – commonly known as El Greco with the crucified’s corporeal body elongated and contorted the piece is in perfect keeping with the appearance of self-deprived solitude that Des Esseintes so cleverly constructed with its boot-polish blacks and cadaverous greens fitted in with certain ideas that Des Esseintes held on the subject of bedroom furniture and decoration Des Esseintes’ collection may seem eclectic but the undercurrent that runs throughout pertains not to what is upon paper or canvas but what desired effect the pieces have upon their sole viewer By selecting pieces that are somewhat heterogenous in their elements that do not seem to belong to a specific place or time – like Moreau’s Salome Dancing before Herod or others that are indisputably uncanny – as is the case with Redon’s The Smiling Spider Des Esseintes shows his misanthropic genius in curating a collection that serves to pull him further and further away from the commonplace reality that exists outside the walls of his sanctum of sensory delights For more on auctions, exhibitions, and current trends, visit our Magazine Page Jill Newhouse Gallery presents two concurrent exhibitions of works from private collections by Odilon Redon (1840-1916) and by Pierre Bonnard (1867-1947) Odilon Redon: Vision and Sight and Bonnard in the Backroom will open May 4 and run through May 26 As a member of the Nabi group of painters active in the late-nineteenth century Bonnard’s early work was heavily influenced by Paul Gauguin and Symbolism with its flat non-objective color and decorative patterns Bonnard’s graphic work of this period made bold use of black and white Ombre” from a proposed children’s book on the alphabet But whereas Redon favored fantastic imagery made fantastic through through the lens of his memory In the early painting The Little Street or Boulevard des Batignolles Bonnard depicts his future companion Marthe strolling down the pearl-gray boulevards of Paris carrying a baker’s box Bonnard would obsessively paint Marthe - whom he first met on the streets of Paris - for the rest of his life Bonnard turned increasingly to landscape subjects from the verdant riverside views near his country house in Vernon to the shimmering ports of Deauville and Trouville where he vacationed in the summer his house in Le Cannet provided endless opportunities to paint the sparkling hills of southern France These grand panoramas were a counterpoint to the intimate interior scenes of his home - the view of Marthe and their dog seen from the top of a staircase and he would often work on more than one painting at a time subject matter was derived from myth and literature reorganized to portray his emotional story For both artists at the end of their careers As I drove into a small hamlet just north of Châteauneuf-du-Pape I wondered which building was Château Mont-Redon It quickly became clear that the hamlet was Château Mont-Redon The average Châteauneuf estate has 10 hectares of vines and a small Mont-Redon has its own petrol station and full-time mechanic to service its fleet of tractors It’s big enough to have a library of older vintages going back decades I paid a visit to find out if its reputation for exceptionally long-lived wines is merited On Thursday, shares of Apollo Micro Systems Ltd gained 3.67 per cent to Rs 132.90 per share from its previous closing of Rs 128.20 per share The stock’s 52-week high is Rs 157 per share and its 52-week low is Rs 88.10 per share Apollo Micro Systems Limited (AMS) has partnered with Redon Systems Pvt Ltd to jointly manufacture systems for Loitering Munition and allied systems This collaboration aims to leverage the combined manufacturing capabilities of both companies for the procurement of Containerized Automatic Landing Module systems specializing in the design and manufacturing of Loitering Munition has successfully demonstrated its products to the Indian Armed Forces This consortium agreement will enable both companies to contribute their expertise and resources towards the joint production of these advanced systems AMS and Garden Reach Shipbuilders & Engineers Limited (GRSE) partnered in a 5-year MoU to jointly develop and export advanced weapon and electronic systems focusing on underwater and air defence technologies for both defence and commercial sectors This collaboration will leverage the manufacturing infrastructure of both companies and in addition to developing new systems they will also offer modernisation services AMS has also secured orders worth Rs 7.37 crore and Rs 6.14 crore from the Defence Research and Development Organisation (DRDO) and in December 2024 FIIs increased their stake in AMS to 0.74 per cent from 0.19 per cent in September 2024 DSIJ’s 'multibagger Pick’ service recommends well researched multibagger stocks with High Returns potential. If this interests you, do download the service details here. Apollo Micro Systems is at the forefront of creating and validating crucial electronics and electro-mechanical solutions for sectors such as aerospace The company is renowned for its commitment to research and development resulting in notable projects such as torpedo-homing systems and underwater mines According to Quarterly Results net sales increased by 62.5 per cent to Rs 148.39 crore and profit after tax (PAT) increased by 83.1 per cent to Rs 18.24 crore in Q3FY25 compared to Q3FY24 while in its nine-month results the net sales increased by 69.5 per cent to Rs 400.30 crore and profit after tax (PAT) increased by 133.2 per cent to Rs 42.40 crore in 9MFY25 compared to 9MFY24 the net sales increased by 24.91 per cent to Rs 371.63 crore and profit after tax (PAT) increased by 66.01 per cent to Rs 31.11 crore in FY24 compared to FY23 The company falls under the BSE Small-Cap Index with a market cap of over Rs 4,000 crore The stock gave multibagger returns of 835 per cent in just 3 years and a whopping 1,650 per cent in 5 years Investors should keep an eye on this aerospace & defence stock Disclaimer: The article is for informational purposes only and not investment advice.  Mkt Commentary6-May Mindshare6-May The share price of the company surge 7 per cent in last one month MF2-May MF30-Apr Knowledge29-Apr fear rises—but long-term investors who stay the course often come out stronger (+91)-20-66663802 / 03 enquiry@dsij.in service@dsij.in Give a Missed Call 020-66663888 Dalal Street Investment Journal Flash News Investment Large Rhino Mid Bridge Vriddhi Growth Tiny Treasure Value Pick Multibagger Pick Micro Marvel Penny Pick Mispriced Gems Momentum Pick Model Portfolio Pop Stock Pop BTST Pop Options TAS Portfolio Advisory Service First Step Stock Market Book Derivatives Book Top Gainers Top Losers 52 Week High 52 Week Low Advance/Declines FII/DII Quarterly Results Broker Reports Guru Investors Multi Cap Power Combo Value Growth Ultimate Combo Multiplier High Risk Combo Positional Calls Combo Balanced Risk Combo Service Magazine Online + FNI Combo Small Companies Combo DSIJ Magazine Archive Investor Awareness Programs (IAP) Testimonials Databank Advertise With Us Tribute to Founder membership of BASL and certification from NISM in no way guarantee performance of the intermediary or provide any assurance of returns to investors" Investment in securities market is subject to market risks Read all the related documents carefully before investing or distributing the content whether wholly or in part for any purpose without the permission of DSIJ is strictly prohibited and shall be deemed to be copyright infringement former Deputy Mayor Leonard Redon — who served two city administrations and an executive for both Paychex and Eastman Kodak Co — was remembered Tuesday for his sharp intellect trustworthy nature and his "innate goodness." Mayor Lovely Warren confirmed his death in a statement Tuesday afternoon passed away in Florida surrounded by his family "after a long and courageous battle with cancer.” It was nearly a year ago to the day that Mr "It's time for me to go take care of me," he said at the time the top appointee of then-Mayor Thomas Richards Richards said he saw someone interested in the well-being of the community; someone who was "reliable very trustworthy." He had previously served as vice president of western operations for Paychex which he joined after a 28-year career at Eastman Kodak Co After retiring from Paychex in February 2011 "be involved in something significant," he recalled months later at his swearing in Redon was one of the few on Richards' senior management that she retained Redon as "an extremely intelligent and charismatic leader." He retired last June so I don't think I'm contributing the way I have in the past I think the mayor would be better served ...," he said in the lead-up to his stepping down stopping mid-sentence and adding later: "It's not an easy decision." The deputy mayor is in charge of day-to-day operations with oversight of most every city department He was out front on all matters parking-related sometimes delicate issues involving employee discipline He was the post person on the now-defunct red light camera enforcement program and a cost-saving switch to be self-insured for employee health care Much of his volunteer work was in the area of health care Redon also was an accomplished sailor and musician playing guitar and singing with the BureauCats “I’m glad to have known Len Redon," said Rep who first met and worked with him during his days at Kodak "I will always remember Len’s extraordinary intellect and innate goodness Today I offer my deepest and heartfelt condolences to his family during this difficult time.” "he will be fondly remembered as a deputy mayor who was thoughtful and was approachable and accessible to everyone in the building." Head of a Martyr on a Dish (St John) (detail; 1877) the Kröller-Müller Museum looks at the oeuvre of French artist Odilon Redon (1840–1916) the exhibition shows the important role that literature and music play in Redon’s life and work but he also learned to play violin and piano and acquired a love of literature at an early age He had close friendships with writers and composers is himself active as a writer and gives music recitals literary themes and visual art were inextricably linked he was already highly praised for his unique way of combining these different expressive powers in his work embodying the popular late 19th-century concept of synaesthesia: the idea that a more intense experience can be created by appealing to several senses simultaneously Find out more about the Odilon Redon exhibition from the Kröller-Müller’s website. Preview the exhibition below | See Apollo’s Picks of the Week here Head of a Martyr on a Dish (St John) (1877) Event website Irina Dumitrescu Claudia Tobin Michael Prodger Tim Smith-Laing Apollo This episode explores an ancient funeral stele and how digital technologies are helping to preserve Egyptian heritage sites