“Redon’s flower paintings, both in oil and pastel, provided a welcome respite from the fantastic but often bizarre and darkly troubling visions that had preoccupied him in his earlier works, especially those charcoal drawings he called his noirs and similar lithographs. “All tensions relaxed… The demons have retired,” Klaus Berger observed (Odilon Redon, New York, 1965, p. 88). Responding to the decorative theories of Maurice Denis and the youthful Nabi brotherhood, as well as to Paul Signac and his Neo-Impressionist circle’s research into scientific color theory, Redon began to approach his art from a new orientation, in which he concentrated on the purity of its means, partaking of the poet Stéphane Mallarmé’s Symbolist view that one should indulge in art for its own sake.”

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Fleur Roos Rosa de Carvalho, ‘Decorative panels’, in Odilon Redon
and Andries Bonger: 36 works from the Van Gogh Museum collection,
Amsterdam 2022, FREE PDF HERE

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