『The Graphic Works of Odilon Redon』 （Dover）
『The
Graphic Works
of
Odilon Redon』
209 Lithographs, Etchings and Engravings
With an Introduction by Alfred Werner
Dover Publications, Inc., New York, 1969
xxvii, 209pp, 30.8x23cm, paperback
「This Dover edition, first published in 1969, contains reproductions of (1) all the plates in the two portfolios (Plates 1-100 and 101-192) originally published by Artz & De Bois, THe Hague, n.d. [1913], with the title Odilon Redon: oeuvre graphique complet; (2) all the other graphic works of Redon for which illustrations could be located.」
ドーヴァー版オディロン・ルドン版画集。
内容：
List of Plates
Lithographs
1-11 Dans le Rêve (In the Dream); 1879
12-18 A Edgar Poë (To Edgar Allan Poe); 1882
19-27 Les Origines (The Origins); 1883
28 Centaur Aiming at the Clouds (Centaure visant les nues); 1883; trial piece not included in Les Origines
29-34 Hommage à Goya (Hommage to Goya); 1885
35 The Egg (L'Œuf); 1885; trial proof, not published
36 Profile of Light (Profil de lumière); 1886
37-42 La Nuit (the Night); 1886
43 Brünnhilde (Brunnhilde); published in the Revue wagnerienne of August 8, 1886
44 Dark Peak (Cime noire); published in the Revue independante of April 1887
45 Girl (Jeune fille); 1887
46 Christ (Christ); 1887
47 Spider (Araignée); 1887
48 Menu of a dinner for French lithographers, April 1, 1887
49 The Idol (L'Idole); 1887; frontispiece for Les Soirs (The Evenings) by Emile Verhaeren
50-56 Illustrations for Le Jure (The Juror) by Edmond Picard; 1887
57 Des Esseintes; 1888; frontispiece for A Rebours (Against the Grain) by Joris-Karl Huysmans
58-68 Tantation de Saint-Antoine (The Temptation of Saint Anthony; 1st series); 1888
69-75 A Gustave Flaubert (To Gustave Flaubert; 2nd series of The Temptation of Saint Anthony); 1889
76 Frontispiece for Les Débâcles by Emile Verhaeren; 1889
77 Frontispiece for El Moghreb al Aksa by Edmond Picard; 1889
78 Frontispiece for La Damnation de l'artiste (The Damnation of the Artist) by Iwan Gilkin; 1889
79 Frontispiece for Les Chimères (The Chimeras) by Jules Destree; 1889
80 Captive Pegasus (Pégase captif); 1889 (first state)
81 Frontispiece for Les Flambeaux noirs (The Black Torches) by Emile Verhaeren; 1890
82 Closed Eyes (Yeux clos); 1890
83 Serpent-Halo (Serpent-Auréole); 1890
84 Female Saint and Thistle (Sainte et chardon); 1891
85-90 Songes (Dreams); 1891
92 Parsifal; 1892
92 Druid Priestess (Druidesse); 1892
93 Mystical Conversation (Entretien mystique); 1892
94 The Reader (Le Liseur); 1892
95 Tree (Arbre); 1892
96 Frontispiece for Les Ténèbres (The Darkness) by Iwan Gilkin; 1892
97 The Wing (L'Aile); 1893
98 Light (Lumière); 1893
99 Frontispiece for Chevaleries sentimentales by Ferdinand Hérold; 1893
100 My Child (Mon enfant; portrait of Redon's son Arï); 1893
101 Auricular Cell (Cellule auriculaire); 1894; published in L'Estampe Originale
102 Winged Horse (Cheval ailé); 1894; published in the Revue Blanche
103 Obsession (Hantise); 1894
105 Brünnhilde in Die Götterdämmerung (Brunnhilde, Crépuscule des Dieux); 1894
106 The Celestial Art (L'Art céleste); 1894
107 The Buddha (le Buddha); 1895; published in L'Estampe Originale
108 Centaur Aiming at the Clouds (Centaure visant les nues); 1895
109-132 La Tentation de Saint-Antoine (The Temptation of Saint Anthony; 3rd series); 1896
133 Old Knight (Vieux chevalier); 1896; published by Vollard in the Album des Peintres-Graveurs
134 Frontispiece for Le Mouvement idéaliste en peinture (The Idealistic Movement in Painting) by André Mellerio; 1896
135-141 La Maison hantée; 1896; illustrations for René Philipon's translation of Edward Bulwer-Lytton's short story The Haunted and the Haunters; or, The House and the Brain
142 The Shulamite (La Sulamite); 1897; color lithograph
143 Beatrice (Béatrice); 1897; color lithograph; published by Vollard in the Album des Peintres-Graveurs
144 Child's Head with Flowers (Tête d'enfant avec fleurs); 1897
145 Arï [the artist's son]; 1898
146 Man on Pegasus (Homme sur Pégase) or The Poet and Pegasus (le Poète et le Pégase); 1898
147 Sleep (Le Sommeil); offered as a bonus by L'Estampe et l'Affiche in its issue of February 15, 1898
148-160 Apocalypse de Saint-Jean (The Revelation of St. John the Divine); 1899
161 Head of Woman with Corsage of Flowers (Tête de femme avec fleurs au corsage); 1900
162-164 Untitled trial lithograph
165 Portrait of the "Nabi" painter Edouard Vuillard; 1900
166 Portrait of the painter Pierre Bonnard; 1903
167 Portrait of the "Nabi" painter Paul Sérusier; 1903
168 Portrait of the painter Maurice Denis; 1903
169 Portrait of the pianist Ricardo Viñes; 1903
170 Portrait of Juliette Dodu, heroine of the Franco-Prussian War and half-sister of Redon's wife; 1904
171 Portrait of the art critic Roger Marx; 1904
172 Portrait of the guitarist Miguel Llobet; 1908
Etchings and Engravings
173 The Ford, with Small Horsemen (Le Gué, avec petits cavaliers); etching; 1865
174 Fear (La Peur); etching; 1865
175 Battle (Bataille); etching 1865
176 The Two Small Horsemen (Les deux petits cavaliers) or Combat of Horsemen (Lutte de cavaliers); etching; 1865
177 Combat of Horsemen (Lutte de cavaliers); etching; 1865
178 Two Trees; etching; 1865
179 Chapel in the Pyrenees (Chapelle des Pyrénées); etching; 1866
180 Horseman Waiting (Cavalier dans l'attente); etching; 1866; trial run
181 Horseman in the Mountains (Cavalier dans les montagnes); etching; 1866; trial run
182 Horseman under a Stormy Sky (Cavalier sous un ciel d'orage); etching; 1866; trial run
183 Horseman Galloping (Cavalier galopant); etching; c. 1866; trial run
184 Apparition or Female Nude; etching and drypoint; reworking of Plate 182
185 Mountainous Landscape (Paysage de montagnes); etching; c. 1886; trial run
186 Saint-Jean-Pied-de-Port; etching; 1866
187 Sketch of Heads and Leaves (Croquis); etching; before 1870
188 David; etching; c. 1880
189 Tobias (Tobie); etching; c. 1880
190 Dream Vision (Vision de rêve): etching; c. 1880
191 Evil Glory (Mauvaise gloire); etching; 1886
192 Cain and Abel (Caïn et Abel); etching; 1886
193 Little Prelate (Petit prélat); drypoint; 1888
194 Passage of a Soul (Passage d'une âme); etching; 1891; frontispiece for the novel La Passante by Adrien Remacle
195 Perversity (Perversité); etching; 1891
196 Prncess Maleine (Princesse Maleine) or The Small Madonna (La petite Madone); etching; 1892
197 Skiapod (Sciapode); etching; 1892
198 Enigma (Enigme); drypoint; 1892
199 The Book (Le Livre) or Saint Theresa (Sainte Thérèse); drypoint; 1892; reworking of No. 197
200 Ex-Libris; etching; 1913
Drawings Reproduced by the Evely Process
201-209 Les Fleurs du Mal (Flowers of Evil), illustrations for Charles baudelaire's poems; 1890
◆本書より◆
「Introduction」（Alfred Werner）より：
「Camille seems to have been an ideal wife for her shy, unworldly husband, for she was not only affectionate and had a deep understanding for his work, but she also created around him an atmosphere of serenity, releasing him from the many pressures of daily life. She conducted all business transactions with dealers and printers and solved the pecuniary problems, which must have been enormous. It seems that, save for the last ten or twelve years of his life, Redon was never well off financially. The artist was fifty-eight when he had to write to his mother that he was unable to support her: "I possess nothing. There are only a few francs in my wallet."」
（愛情深く仕事への理解もあるだけでなく、日常生活のプレッシャーから解放してくれる落ち着いた環境を作り出すカミーユは、世慣れぬ人見知りのルドンにとって理想的な伴侶だったようだ。彼女はビジネスの取引や家計の問題も一人で取り仕切ったが、ルドンは晩年の十数年を除いて経済的に困窮していて、五十八歳のときでも母親に仕送りもできない無一文の状態だったことを思えば、並大抵のことではなかっただろう。）
「It was Huysmans who introduced the artist to Stéphane Mallarmé, leader of the Symbolists, and Redon often participated in the famous *mardis*, the Tuesday receptions given by the poet for the leading figures of the Parisian art world of the 1880's (the most contrasting personalities there were Paul Gauguin, noisy and garrulous, and the withdrawn and retiring Odilon Redon).
Though thousands now knew Redon's name from the best-selling novel, there was little change in the public's attitude to his work; it still ranged from apathy to hostility. ( . . . ) He did not have a large one-man show before he was fifty-four. In the very year of that show, 1894, Gauguin - who rarely spoke about a colleague charitably - referred to Redon as "this extraordinary artist whom people stubbornly refuse to understand."」
（ルドンをマラルメに紹介したのはユイスマンスだった。ルドンは「火曜会」に出席するようになるが、その席では内気で控え目なルドンと騒々しくお喋りなゴーギャンは対照的な存在だった。
『さかしま』によって名前は知られるようになったものの、無関心でなければ敵意という、ルドンに対する大多数の人々の態度は変わらなかった。大きな個展を開催できるようになったのは一八九四年、五十四歳を過ぎてからだった。その年、同業者に対して口さがないゴーギャンが珍しく「世の理解を得られない非凡な芸術家」としてルドンに言及している。）
「The Egg」
「Why should there not exist (from *Le Juré*)」
「Obsession」
「Skiapod (etching）」
Graphic Works
of
Odilon Redon』
209 Lithographs, Etchings and Engravings
With an Introduction by Alfred Werner
Dover Publications, Inc., New York, 1969
xxvii, 209pp, 30.8x23cm, paperback
「This Dover edition, first published in 1969, contains reproductions of (1) all the plates in the two portfolios (Plates 1-100 and 101-192) originally published by Artz & De Bois, THe Hague, n.d. [1913], with the title Odilon Redon: oeuvre graphique complet; (2) all the other graphic works of Redon for which illustrations could be located.」
ドーヴァー版オディロン・ルドン版画集。
内容：
List of Plates
Lithographs
1-11 Dans le Rêve (In the Dream); 1879
12-18 A Edgar Poë (To Edgar Allan Poe); 1882
19-27 Les Origines (The Origins); 1883
28 Centaur Aiming at the Clouds (Centaure visant les nues); 1883; trial piece not included in Les Origines
29-34 Hommage à Goya (Hommage to Goya); 1885
35 The Egg (L'Œuf); 1885; trial proof, not published
36 Profile of Light (Profil de lumière); 1886
37-42 La Nuit (the Night); 1886
43 Brünnhilde (Brunnhilde); published in the Revue wagnerienne of August 8, 1886
44 Dark Peak (Cime noire); published in the Revue independante of April 1887
45 Girl (Jeune fille); 1887
46 Christ (Christ); 1887
47 Spider (Araignée); 1887
48 Menu of a dinner for French lithographers, April 1, 1887
49 The Idol (L'Idole); 1887; frontispiece for Les Soirs (The Evenings) by Emile Verhaeren
50-56 Illustrations for Le Jure (The Juror) by Edmond Picard; 1887
57 Des Esseintes; 1888; frontispiece for A Rebours (Against the Grain) by Joris-Karl Huysmans
58-68 Tantation de Saint-Antoine (The Temptation of Saint Anthony; 1st series); 1888
69-75 A Gustave Flaubert (To Gustave Flaubert; 2nd series of The Temptation of Saint Anthony); 1889
76 Frontispiece for Les Débâcles by Emile Verhaeren; 1889
77 Frontispiece for El Moghreb al Aksa by Edmond Picard; 1889
78 Frontispiece for La Damnation de l'artiste (The Damnation of the Artist) by Iwan Gilkin; 1889
79 Frontispiece for Les Chimères (The Chimeras) by Jules Destree; 1889
80 Captive Pegasus (Pégase captif); 1889 (first state)
81 Frontispiece for Les Flambeaux noirs (The Black Torches) by Emile Verhaeren; 1890
82 Closed Eyes (Yeux clos); 1890
83 Serpent-Halo (Serpent-Auréole); 1890
84 Female Saint and Thistle (Sainte et chardon); 1891
85-90 Songes (Dreams); 1891
92 Parsifal; 1892
92 Druid Priestess (Druidesse); 1892
93 Mystical Conversation (Entretien mystique); 1892
94 The Reader (Le Liseur); 1892
95 Tree (Arbre); 1892
96 Frontispiece for Les Ténèbres (The Darkness) by Iwan Gilkin; 1892
97 The Wing (L'Aile); 1893
98 Light (Lumière); 1893
99 Frontispiece for Chevaleries sentimentales by Ferdinand Hérold; 1893
100 My Child (Mon enfant; portrait of Redon's son Arï); 1893
101 Auricular Cell (Cellule auriculaire); 1894; published in L'Estampe Originale
102 Winged Horse (Cheval ailé); 1894; published in the Revue Blanche
103 Obsession (Hantise); 1894
105 Brünnhilde in Die Götterdämmerung (Brunnhilde, Crépuscule des Dieux); 1894
106 The Celestial Art (L'Art céleste); 1894
107 The Buddha (le Buddha); 1895; published in L'Estampe Originale
108 Centaur Aiming at the Clouds (Centaure visant les nues); 1895
109-132 La Tentation de Saint-Antoine (The Temptation of Saint Anthony; 3rd series); 1896
133 Old Knight (Vieux chevalier); 1896; published by Vollard in the Album des Peintres-Graveurs
134 Frontispiece for Le Mouvement idéaliste en peinture (The Idealistic Movement in Painting) by André Mellerio; 1896
135-141 La Maison hantée; 1896; illustrations for René Philipon's translation of Edward Bulwer-Lytton's short story The Haunted and the Haunters; or, The House and the Brain
142 The Shulamite (La Sulamite); 1897; color lithograph
143 Beatrice (Béatrice); 1897; color lithograph; published by Vollard in the Album des Peintres-Graveurs
144 Child's Head with Flowers (Tête d'enfant avec fleurs); 1897
145 Arï [the artist's son]; 1898
146 Man on Pegasus (Homme sur Pégase) or The Poet and Pegasus (le Poète et le Pégase); 1898
147 Sleep (Le Sommeil); offered as a bonus by L'Estampe et l'Affiche in its issue of February 15, 1898
148-160 Apocalypse de Saint-Jean (The Revelation of St. John the Divine); 1899
161 Head of Woman with Corsage of Flowers (Tête de femme avec fleurs au corsage); 1900
162-164 Untitled trial lithograph
165 Portrait of the "Nabi" painter Edouard Vuillard; 1900
166 Portrait of the painter Pierre Bonnard; 1903
167 Portrait of the "Nabi" painter Paul Sérusier; 1903
168 Portrait of the painter Maurice Denis; 1903
169 Portrait of the pianist Ricardo Viñes; 1903
170 Portrait of Juliette Dodu, heroine of the Franco-Prussian War and half-sister of Redon's wife; 1904
171 Portrait of the art critic Roger Marx; 1904
172 Portrait of the guitarist Miguel Llobet; 1908
Etchings and Engravings
173 The Ford, with Small Horsemen (Le Gué, avec petits cavaliers); etching; 1865
174 Fear (La Peur); etching; 1865
175 Battle (Bataille); etching 1865
176 The Two Small Horsemen (Les deux petits cavaliers) or Combat of Horsemen (Lutte de cavaliers); etching; 1865
177 Combat of Horsemen (Lutte de cavaliers); etching; 1865
178 Two Trees; etching; 1865
179 Chapel in the Pyrenees (Chapelle des Pyrénées); etching; 1866
180 Horseman Waiting (Cavalier dans l'attente); etching; 1866; trial run
181 Horseman in the Mountains (Cavalier dans les montagnes); etching; 1866; trial run
182 Horseman under a Stormy Sky (Cavalier sous un ciel d'orage); etching; 1866; trial run
183 Horseman Galloping (Cavalier galopant); etching; c. 1866; trial run
184 Apparition or Female Nude; etching and drypoint; reworking of Plate 182
185 Mountainous Landscape (Paysage de montagnes); etching; c. 1886; trial run
186 Saint-Jean-Pied-de-Port; etching; 1866
187 Sketch of Heads and Leaves (Croquis); etching; before 1870
188 David; etching; c. 1880
189 Tobias (Tobie); etching; c. 1880
190 Dream Vision (Vision de rêve): etching; c. 1880
191 Evil Glory (Mauvaise gloire); etching; 1886
192 Cain and Abel (Caïn et Abel); etching; 1886
193 Little Prelate (Petit prélat); drypoint; 1888
194 Passage of a Soul (Passage d'une âme); etching; 1891; frontispiece for the novel La Passante by Adrien Remacle
195 Perversity (Perversité); etching; 1891
196 Prncess Maleine (Princesse Maleine) or The Small Madonna (La petite Madone); etching; 1892
197 Skiapod (Sciapode); etching; 1892
198 Enigma (Enigme); drypoint; 1892
199 The Book (Le Livre) or Saint Theresa (Sainte Thérèse); drypoint; 1892; reworking of No. 197
200 Ex-Libris; etching; 1913
Drawings Reproduced by the Evely Process
201-209 Les Fleurs du Mal (Flowers of Evil), illustrations for Charles baudelaire's poems; 1890
◆本書より◆
「Introduction」（Alfred Werner）より：
「Camille seems to have been an ideal wife for her shy, unworldly husband, for she was not only affectionate and had a deep understanding for his work, but she also created around him an atmosphere of serenity, releasing him from the many pressures of daily life. She conducted all business transactions with dealers and printers and solved the pecuniary problems, which must have been enormous. It seems that, save for the last ten or twelve years of his life, Redon was never well off financially. The artist was fifty-eight when he had to write to his mother that he was unable to support her: "I possess nothing. There are only a few francs in my wallet."」
（愛情深く仕事への理解もあるだけでなく、日常生活のプレッシャーから解放してくれる落ち着いた環境を作り出すカミーユは、世慣れぬ人見知りのルドンにとって理想的な伴侶だったようだ。彼女はビジネスの取引や家計の問題も一人で取り仕切ったが、ルドンは晩年の十数年を除いて経済的に困窮していて、五十八歳のときでも母親に仕送りもできない無一文の状態だったことを思えば、並大抵のことではなかっただろう。）
「It was Huysmans who introduced the artist to Stéphane Mallarmé, leader of the Symbolists, and Redon often participated in the famous *mardis*, the Tuesday receptions given by the poet for the leading figures of the Parisian art world of the 1880's (the most contrasting personalities there were Paul Gauguin, noisy and garrulous, and the withdrawn and retiring Odilon Redon).
Though thousands now knew Redon's name from the best-selling novel, there was little change in the public's attitude to his work; it still ranged from apathy to hostility. ( . . . ) He did not have a large one-man show before he was fifty-four. In the very year of that show, 1894, Gauguin - who rarely spoke about a colleague charitably - referred to Redon as "this extraordinary artist whom people stubbornly refuse to understand."」
（ルドンをマラルメに紹介したのはユイスマンスだった。ルドンは「火曜会」に出席するようになるが、その席では内気で控え目なルドンと騒々しくお喋りなゴーギャンは対照的な存在だった。
『さかしま』によって名前は知られるようになったものの、無関心でなければ敵意という、ルドンに対する大多数の人々の態度は変わらなかった。大きな個展を開催できるようになったのは一八九四年、五十四歳を過ぎてからだった。その年、同業者に対して口さがないゴーギャンが珍しく「世の理解を得られない非凡な芸術家」としてルドンに言及している。）
「The Egg」
「Why should there not exist (from *Le Juré*)」
「Obsession」
「Skiapod (etching）」
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