I Am the First Consciousness of Chaos: The Black Album
I Am the First Consciousness of Chaos: The Black Album
I AM THE FIRST CONSCIOUSNESS OF CHAOS collects the key "noirs" -- lithographs, etchings and charcoals -- of Odilon Redon, perhaps the most enigmatic and esoteric figure in the artistic lineage that leads directly from Symbolism to Surrealism. Never previously available in a single trade volume, the majority of Redon's noirs -- over 250 illustrations -- are finally collated here, along with illuminating excerpts from the decadent texts which inspired their creation. Authors featured include J-K Huysmans, Gustave Flaubert, Charles Baudelaire, Edward Bulwer-Lytton, St John the Divine, Edgar Allan Poe and others; the book also includes an autobiographical introductory essay by Redon himself.
With proclamations such as "everything in art occurs through voluntary submission to the advent of the unconscious" and "my originality consists in putting the logic of the visible at the service of the invisible", Odilon Redon (1840-1916) established a theoretical legacy which now places him as one of the key precursors of Surrealist thought. And along with Gustave Moreau and Georges Seurat, Redon was one of the first painters to excite the imagination of a young Andre Breton.
A contemporary of the Impressionists, Redon chose to align himself with literary Symbolism, demonstrated by his friendship with Stephane Mallarme and his visual interpretations of the "decadent" texts of such writers as Baudelaire, Flaubert, Poe, and others. His reputation as a purveyor of phantasmic visions was sealed by the description of his work included in J-K Huysmans' decadent bible A Rebours, in 1884, and his rise to prominence in the 20th century was precipitated by the inclusion of many of his works at the controversial Armory Show, held in New York in 1913.
With proclamations such as "everything in art occurs through voluntary submission to the advent of the unconscious" and "my originality consists in putting the logic of the visible at the service of the invisible", Odilon Redon (1840-1916) established a theoretical legacy which now places him as one of the key precursors of Surrealist thought. And along with Gustave Moreau and Georges Seurat, Redon was one of the first painters to excite the imagination of a young Andre Breton.
A contemporary of the Impressionists, Redon chose to align himself with literary Symbolism, demonstrated by his friendship with Stephane Mallarme and his visual interpretations of the "decadent" texts of such writers as Baudelaire, Flaubert, Poe, and others. His reputation as a purveyor of phantasmic visions was sealed by the description of his work included in J-K Huysmans' decadent bible A Rebours, in 1884, and his rise to prominence in the 20th century was precipitated by the inclusion of many of his works at the controversial Armory Show, held in New York in 1913.
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I AM THE FIRST CONSCIOUSNESS OF CHAOS collects the key "noirs" -- lithographs, etchings and charcoals -- of Odilon Redon, perhaps the most enigmatic and esoteric figure in the artistic lineage that leads directly from Symbolism to Surrealism. Never previously available in a single trade volume, the majority of Redon's noirs -- over 250 illustrations -- are finally collated here, along with illuminating excerpts from the decadent texts which inspired their creation. Authors featured include J-K Huysmans, Gustave Flaubert, Charles Baudelaire, Edward Bulwer-Lytton, St John the Divine, Edgar Allan Poe and others; the book also includes an autobiographical introductory essay by Redon himself.
With proclamations such as "everything in art occurs through voluntary submission to the advent of the unconscious" and "my originality consists in putting the logic of the visible at the service of the invisible", Odilon Redon (1840-1916) established a theoretical legacy which now places him as one of the key precursors of Surrealist thought. And along with Gustave Moreau and Georges Seurat, Redon was one of the first painters to excite the imagination of a young Andre Breton.
A contemporary of the Impressionists, Redon chose to align himself with literary Symbolism, demonstrated by his friendship with Stephane Mallarme and his visual interpretations of the "decadent" texts of such writers as Baudelaire, Flaubert, Poe, and others. His reputation as a purveyor of phantasmic visions was sealed by the description of his work included in J-K Huysmans' decadent bible A Rebours, in 1884, and his rise to prominence in the 20th century was precipitated by the inclusion of many of his works at the controversial Armory Show, held in New York in 1913.
With proclamations such as "everything in art occurs through voluntary submission to the advent of the unconscious" and "my originality consists in putting the logic of the visible at the service of the invisible", Odilon Redon (1840-1916) established a theoretical legacy which now places him as one of the key precursors of Surrealist thought. And along with Gustave Moreau and Georges Seurat, Redon was one of the first painters to excite the imagination of a young Andre Breton.
A contemporary of the Impressionists, Redon chose to align himself with literary Symbolism, demonstrated by his friendship with Stephane Mallarme and his visual interpretations of the "decadent" texts of such writers as Baudelaire, Flaubert, Poe, and others. His reputation as a purveyor of phantasmic visions was sealed by the description of his work included in J-K Huysmans' decadent bible A Rebours, in 1884, and his rise to prominence in the 20th century was precipitated by the inclusion of many of his works at the controversial Armory Show, held in New York in 1913.
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