Why are Redon’s flowers so attractive?

Exploring the Flower Paintings in “Odilon Redon: Dreams of Light, luminous shadow”

Written by ART Driven Tokyo

The exhibition PARALLEL MODE: Odilon Redon – Dreams of Light , luminous shadow is currently on view at the Panasonic Shiodome Museum of Art. Among the works that immediately captivate the viewer are seven vividly colored paintings of “Flowers in a Vase” by Odilon Redon (1840–1916).

A Mysterious Space, a Vision That Seems Alive

A Mysterious Space, a Vision That Seems Alive

“Fleurs dans un vase blue” (c. 1904, left side of the photo just above). What is that mass of orange? Is it real? Positioned near the center, it draws the eye and enhances the mysterious atmosphere.

“Vase noir aux anémones” (c. 1905, right side of the same photo). What is the purple frame? Are we peering at the flowers through a piece of furniture with a hole in it? The composition feels decorative, guiding the viewer to look in from a specific angle.

These flower paintings were created during a stable period in Redon’s life—his beloved son Ari was growing up, and his relationships with patrons were thriving. Redon had moved beyond his “Black Period” and entered a more joyful era filled with color.

Redon once said, “I have represented the invisible following the logic of the visible.”

Although the works are constructed following the structure of the real world, they leave a curious sense of dissonance. In the exhibition catalogue (pp. 236–242), Mihoko Nouzawa, curator at the Hiroshima Museum of Art, offers the following insights:

• The compositions are decorative, so they feel alive.
• The vases are placed in a strange space, enhancing their mystical quality.
• Though often associated with Symbolists, Redon himself denied the label.
• Gauguin once distinguished Redon from Symbolist painter Gustave Moreau, saying: “Moreau’s work is like the illustration of a fairy tale. Redon is a dreamer rich in imagination… In him, dreams are endowed with such an air of truth that they become a kind of reality.”

Nouzawa further notes:

• Precisely because the subject matter appears ordinary, Redon believed it was necessary to imbue it with “vision.”
• His paintings of flowers in vases are the clearest expression of his artistic philosophy.

A Timeless Garden of Dreams Woven in Color

Redon also said: “If one wishes to leave enduring works to future generations, good color is indispensable.”

In his flower paintings, Redon freezes time, offering a glimpse of eternity. Through color, he stirs the viewer’s soul. The flowers, seemingly alive, drift between reality and fantasy—and subtly evoke the presence of death.

Redon, it seems, used flowers to express eternity. Humanity does not know what eternity truly is. That is precisely why we long for it—and fear it. Those who gaze upon Redon’s flowers find themselves enraptured, and yet, harbor a quiet fear.

In Redon’s dreamlike garden, may you encounter the “eternity” revealed through color.

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Exhibition Information

Dates: April 12 (Sat) – June 22 (Sun), 2025
Opening Hours: 10:00 AM – 6:00 PM (Last entry: 5:30 PM)
Extended Hours: Open until 8:00 PM on June 6 (Fri), June 20 (Fri), and June 21 (Sat) (Last entry: 7:30 PM)
Closed: Wednesdays (except June 18, when the museum will be open)
Admission: Adults: ¥1,300 Seniors (65+): ¥1,200 University/High School Students: ¥800 Junior High School Students and younger: Free
Visitors with a disability certificate and one accompanying person: Free

Organized by: Panasonic Shiodome Museum of Art