New York

Odilon Redon

Acquavella Galleries

Little need be said in connection with the supreme selection of later Odilon Redon flower pieces and reverie studies at the Acquavella Galleries for the benefit of Lenox Hill Hospital. Ever since The Museum of Modern Art survey of Re-don, Bresdin and Moreau and recent re-editions of Redon’s graphics, the artist is regarded as a Symbolist only by default. Theoretically a member, indeed a leader of the movement, Redon now has the following, the “box-office,” of a Renoir. What is interesting about this exhibition, especially as we are able to compare it with the Samuels show, is the degree to which Redon drops out of the movement. We begin to think of him as above style and taste in the same way that we regard Gauguin. Is it that as Redon becomes a consecrated figure he begins to bore?

The flower pieces, at least so many at once, begin to strike a repetitive, even commonplace note. The

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