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Property from a Private French Collection fleurs dans un vase vert signed oil on panel 62.5 by 38 cm., 24 3/4 by 15 in. Painted in 1912. Provenance Ari Redon, Paris (the artist's son) Exhibited Paris, Galerie Druet, Exposition d'oeuvres d'Odilon Redon (1840-1916), peintures, pastels, aquarelles, dessins, lithographies, eaux-fortes, art decoratif, 1923, no. 14, illustrated in the catalogue (with the title Le Vase vert) London, The Lefevre Gallery (Alex Reid & Lefevre), 1933, no. 12 Paris, Orangerie des Tuileries, Odilon Redon, 1956-1957, no. 167, illustrated in the catalogue Drome, La Poet-Laval, Centre International d'Art et d'Animation, Exposition Odilon Redon, 1998, no. 45, illustrated in colour in the catalogue Literature Roseline Bacou, Odilon Redon, Geneva, 1956, vol. II, no. 75, illustrated Klaus Berger, Odilon Redon, Phantasie und Farbe, Cologne, 1964, p. 201, no. 227, catalogued Exposition Odilon Redon, Kamakura (exhibition catalogue), 1973, p. 8, illustration of Redon's apartment showing the present work on the wall Alec Wildenstein, Odilon Redon, Catalogue raisonne de l'oeuvre peint et dessine: fleurs et paysages, Paris, 1996, vol. III, p. 119, no. 1533, illustrated Painted in 1912, this colourful and majestic still-life of flowers typifies Redon's mastery of the genre. With its dramatic, abstracted background and its juxtaposition of golds, orange-reds, lapis blues and whites, the composition encapsulates the artist's rich and enduring vision of nature appropriated into a human context. Gloria Groom writes of Redon's late still-lifes of flowers: 'In choosing floral still-life imagery, Redon returned to a subject he had explored in the 1860s. Though all extraneous details of place and setting have been removed, these still lifes suggest three-dimensional objects situated in actual space. Those Redon executed thirty years later appear to float beyond any suggestion of an interior, "like flowers one sees (in) dreams.'' With these Redon took on his old acquaintance Henri Fantin-Latour... Fantin's floral pieces are quintessential expressions of naturalism. Fantin's flowers struck Redon as 'dead.' Redon insisted on reference to nature, but through the filter of memory and imagination' (G. Groom, Odilon Redon, Prince of Dreams, 1840-1916, New York, 1994, p. 320).