"Parsifal / Druidess": Unfolding a Lithographic Metamorphosis by Odilon Redon Author(S): Dario Gamboni Source: the Art Bulletin, Vol

"Parsifal / Druidess": Unfolding a Lithographic Metamorphosis by Odilon Redon Author(s): Dario Gamboni Source: The Art Bulletin, Vol. 89, No. 4 (Dec., 2007), pp. 766-796 Published by: College Art Association Stable URL: http://www.jstor.org/stable/25067360 . Accessed: 20/12/2013 12:05

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This content downloaded from 129.194.8.73 on Fri, 20 Dec 2013 12:05:06 PM All use subject to JSTOR Terms and Conditions a Parsifal / Druidess: Unfolding Lithographic Metamorphosis by Odilon Redon Dario Gamboni

In an of ten one formal and semantic the of the former build 1879, with album prints and frontispiece level, gentleness en or a to tided Dans le r?ve ("In the Dream" "Dreaming"), Odilon ing counterpart the hardness of the latter. Redon started publishing lithographs. The album format This intuition of an intimate link between the two images and successful: three more followed was in an in proved congenial until, confirmed unexpected way when, 1976, Suzanne in 1886, the artist began issuing individual sheets with Profile Folds McCullagh and Inge Christine Swenson, two art histo ofLight (Fig. 18). In April 1891, a first catalog of Redon's rians working at the Art Institute of Chicago, discovered a lithographs was published by the Belgian lawyer,writer, and version o? Parsifal (Fig. 3) unmentioned inMellerio's catalog, critic Destr?e. He made a clear distinction between the and of which three have been A Jules only proofs preserved.6 isolated he introduced under minute of I plates, which the generic title comparison this unknown version (which will Pi?ces modernes but as "not regarded linked by any special henceforward call Parsifal I) with the impressions ofMellerio and the "in the author's in relationship," albums, which, mind, 116 (henceforward Parsifal IT) the Art Institute collection form that cannot be down led to was not an state of wholes, groupings broken without them conclude that it undescribed his these "Modern Pieces" num from a stone betraying thought."1 By then, the latter but had been "printed different and bered to must be a of eight lithographs. Redon continued produce al therefore first, rejected version the Parsifal as well as for and for that the reason for this bums, prints journals frontispieces subject." They supposed rejection In as a to must a a hori books. fact, his reputation lithographer continued have been flaw in the stone, "which created rest mainly on his albums, so much so that in 1898, while zontal black line through the entire composition, just above a new his preparing catalog of prints, the critic Andr? Mel Parsifal's brow," and they argued for the equal quality but two lerio asked him why he had produced isolated pieces. Redon divergent "conception and emotional impact" of the versions: a accents forms dramat replied somewhat angrily that he had made them like "every whereas harsh, broken light other artist from the and the Mellerio's in I the present past."2 ques ically Parsifal and makes hero appear "tormented by the the he seems in even illumi tion signaled that sequential character of albums, the his fate," merely "pensive" the soft, contrasts echoes and organized by Redon between the indi nation of Parsifal II vidual within were crucial to his to prints them, appreciation. Extending the comparison other Redon lithographs of an same made a Despite Redon's irritation, the insight provided by such the period, McCullagh and Swenson second, to even more remarkable that elements of I approach remains valuable. The 1885 album Homage Goya, discovery: Parsifal two recur in as can seen one two for instance, opens and closes with images that frame the Druidess, easily be when of the are as series and clearly conceived opposed and complemen compositions is turned upside down (Fig. 4). McCullagh and one a seen tary: the first (Fig. 20) shows male head, from the Swenson observed that the "apparently fortuitous assemblage on a with a on on front dark background, melancholic and search of lines Parsifal's white collar is found inverted the a Druidess's white headband." the ing expression, while female profile (Fig. 21), described by They proposed following as from the reconstruction of the from one to the the caption "severe and hard," detaches itself passage lithograph white sheet in the second one.3 other: "The priestess's profile is developed from the lighted area of Parsifal's and the shaft of him We may, however, also disagree with Destr?e's contention neck chin, light beside that are unrelated. On defines her and the side of his helmet is transformed Redon's individual prints mutually veil, her added that in some October 11, 1891, the writer Joris-Karl Huysmans, who had into elegant earring." They impres the of to and had become sions of "remnants of Parsifal's can be organized promotion Homage Goya Druidess, right eye Redon's critical received mail from the discerned at the bottom of the which now cor champion, artist, edge print," which he answered with a note of thanks written on the same responds to the horizontal black line observed inParsifal! In day: "My janitor brought me up thismorning a pretty roll other words, they suggested that after rejecting Parsifal I, once me Redon turned the stone down out the that, unfolded, confronted with the troubling fig upside and, leaving ures are one so you created. Ah! But they perfect Redons, the smaller part of the lithograph divided by the aberrant line, and and with his the other so transformed the into a new before strange gentle suffering arrow, larger part image, Druidess, to his and an terriblyanimal with her crude profile and her shiny eye. And returning initial composition creating entirely two three new version of on a new stone. the pale mystics!"4 This description identifies it, Parsifal II, to Mellerio's were editioned This is a to the prints, which, according catalog, strange procedure, hardly corresponding a from such a work. stones were in 1892: Parsifal (Fig. 1), Druidess (Fig. 2), and linear depic genesis expected Lithographic women canceled and after a run was com tion of two standing entitled Mystical Conversation? routinely regrained print Given the fact thatHuysmans received the three lithographs pleted, so the material loss represented by the failed Parsifal not to a this kind. Was in one roll, it is only logical that he should have discussed /was sufficient call for "recycling" of we them together, but his treatment of Parsifal and Druidess in Redon reluctant to lose the image completely? As shall same sentence them as a on a it would have been to transfer the the clearly considers pair see, easy imperfect image

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1 Odilon Redon, Parsifal [II], 1891, on China lithograph mounted ivory X X paper, 12M> 95/s in. (32.1 24.3 cm). The Art Institute of Chicago, the Stickney Collection, 1920.1695 (artwork in the public domain; photograph provided by the Art Institute of Chicago)

onto a new more outcome of two at the indications stone, and the obvious Parsifal identity of the figures stake, following version to Redon's are involved in the relation /is Parsifal II, which takes advantage of the rejected given by titles, genetic on it. additional transformation of I them. improve The Parsifal binding of Druidess must into the other, radically different image in its own In their brief therefore have attracted Redon right. Parsifals to refers to the hero of Rich article, McCullagh and Swenson rightly pointed other Parsifal unequivocally eponymous a new ard last musical drama. This work had been documented instances in which Redon "created wholly Wagner's pre from one in which he turned sented in in the the image another," including Bayreuth 1882, year preceding compos a er's and Redon had not seen he could an early etching of galloping rider (Fig. 5) into the vague death, although it, a woman the mean have read the and in he knew of its evocation of nude (Fig. 6), transforming libretto, any case, plot, into a hair after which was discussed and have been famil dering lines of clouds depiction of turning widely may already the on its side. saw such cases as "indicative of iar to him from Chr?tien de tale plate They Troyes's late-twelfth-century to see alternatives in and of his of Le conte du Graal ou le roman de Perceval. Redon's ability his creations chivalry to one form from Redon had reasons to be attracted to Music willingness pursue these visions, nurturing many Wagner. can even further in this had been to him from his and he another." One go and identify ability important early years, a element of Redon's and would write that he had been "born on a sound wave."7 One and willingness key theory practice we a meta and wrote music and of art. Before take closer look at this process of of his brothers played piano criticism, we must ask ourselves to what extent the he was himself a fine violinist. More he had de morphosis, though, important,

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2 Redon, Druidess, 1891, lithograph on X mounted ivory China paper, 9Vs 8 in. (23.1 X 20.2 cm). The Art Institute of Chicago, the Stickney Collection, 1920.1698 (artwork in the public domain; photograph provided by theArt Institute of Chicago)

fined himself on as a and he "emotional and to "sensational early "symphonist painter," wagn?rienne, musical," replace arts on the and He mentioned its thought that the future of the visual depended descriptive" painting.11 among already musical model of devotees were had asso "suggestion."8 Many Wagner existing practitioners Redon, who, indeed, already to Ernest Chausson himself with the cause close him, including the composer and ciated officially Wagnerian by accept The latter was to the editor invitation to create an Henri Fantin-Latour. using lithography ing Edouard Dujardin's disseminate after as a for subscribers compositions Wagner, including Parsifal image of Br?nnhilde (Fig. 7) deluxe gift and theFlower Maidens (Fig. 12), and introduced Redon to this to the Revue}2 The head of this Br?nnhilde bears a definite of Fantin's resemblance to the later Druidess Redon also exhib technique. Redon, however, disapproved attempt (Fig. 2). to with the of the musical he would interpret colors painting world, ited Br?nnhilde drawings in 1888 and 1890, and which he deemed "solely internal and without any support in publish in 1894 a second lithograph with the same title, less In an he even dismissed dramatic and more in real nature."9 unpublished note, Pre-Raphaelite character.13 as another On several oc a to the of Parsifal in 1891 was Wagner himself "yet naturalist."10 Devoting lithograph figure also his interest and even his therefore not a choice on Redon's It took casions, however, he expressed surprising part. admiration for as well as his desire?which in a series of references to Wagner's work, place explicit Wagner's interpre tation and reinforced the artist's association with would remain unfulfilled?to visit Bayreuth. of myths in were the and two cultural movements By the mid-1880s Paris, Wagnerites advocating Wagnerism Symbolism, occupy of work of Like other then the center of attention. The dimension of theory the "total art." early proponents ing by public of Symbolism, they participated in an effort dear to Redon's publicity may raise a doubt about the degree of intrinsic arts from the constraints of relevance that should be to this choice of all the heart, that of freeing the visual granted title, The in more as Redon is known for his love of his naturalism. Revue Wagn?riennewas founded June 1885, indeterminacy, on of traditional notions of and his idio and May 8, 1886, Teodor de Wyzewa commented in its rejection "illustration," on of for a and at times treatment of pages the Salon that year by calling peinture syncratic desultory iconography.14

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3 Redon, Parsifal [I], 1891, lithograph on mounted ivory China paper, 12% X 9V2 in. (32.2 X 24 cm). The Art Institute of Chicago, Gift of Robert M. Light, 1975.493 (artwork in the public domain; photograph provided by the Art Institute of Chicago)

The Mus?e owns a that Redon musical so we must ask ourselves what in d'Orsay, Paris, pastel drawing referent, Wagner's thus seems to have as Saint "sacred interest Redon. The was presented alternately Parsifal and festival play" could libretto John (Fig. 8).15 Bearded, without helmet and spear but with a inspired by the legend of the Holy Grail, as transmitted by and amid a mountainous this Chr?tien de and in the thirteenth cen heavy coat, standing landscape, Troyes adapted early common von It is figure has little in with Parsifal I and Parsifal II, tury by the German poet Wolfram Aeschenbach. for the oversize and melancholic de worth that in the 1860s?when was except perhaps eyes already noting Wagner meanor. Still, the hesitation between "Parsifal" and "Saint writing the first sketch for his Parsifal poem?Redon had is both of the semantic context in which been which he associated with John" revealing fascinated by epic literature, Parsifal could be for Redon and of the artist's manner an of placed early stage mankind and with the unadulterated land of identifyingwhat he liked to call his "fictions."16 In May scape and people of his beloved Pays Basque.18 His firstmajor 1904, he described in his chronological list of works an painting, shown at the 1870 exhibition of the Soci?t? des earlier as kind or Amis was based on the eleventh drawing "a of Parsifal, bard knight, barba des Arts de Bordeaux, rous and seen from the Chanson de Roland: it the mystical, front."17 century chanson de geste depicts The title come to hero from his the dark Parsifal may thus have identify the figure youthful alone, separated troop by of I or after its mass a his red a and Parsifal during realization rather than have of mountain, cape forming halo alluding and oriented it. even "a kind of Parsifal" to preceded However, perhaps his imminent sacrifice (Fig. 9). labeled ex facto has to do with the son of a killed in was raised in post something its literaryand Parsifal, knight combat,

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over is to sec ignorance of his origin and of knighthood by his mother triumph Klingsor. Redon's Parsifal closer the as Herzeleide, who feared for his life?an element that may ond type, the presence of the spear confirms, but his have to in the or melancholic in appealed Redon connection with complex suffering expression, particularly Parsifal I, own indicates an a The history of his childhood.19 Following knights who pass ongoing rather than completed quest. Parsifal reaches the castle of artists who in what called "sensational and through the woods, Montsalvat, indulged Wyzewa on were more attracted the the Holy Grail, and witnesses the drama unfolding within its descriptive art," the contrary, by a self-castrated ma walls without understanding it. Klingsor, erotic temptations encountered by the hero than by his inner gician rejected by the chaste Knights of the Grail, uses the torments. Fantin-Latour himself had shown him as an amia to ensnare Flower Maidens and the seductress Kundry them; ble semigod, gently making his way through the crowd of he has managed to take the Holy Spear from King Amfortas entreating maidens (Fig. 12). The late academic painter to to on a a while the latter succumbed Kundry and inflict him Georges-Antoine Rochegrosse gave protocinematographic wound that will not heal, making him unfit to perform the rendering of the same scene (Fig. 13), with a literal evoca holy office of the Grail. Attempting to regain theHoly Spear, tion?calling to mind Disney animation spiked with soft a the into and Parsifal stand Parsifal resists the maiden but is tempted by Kundry into porn?of flowers turning women, he realizes the na a male of Arc. These kiss. Instead of being seduced, however, ing transfixed amid them like Joan ture how Redon chose the iconic of Amfortas's wound, rejects Kundry, and vanquishes comparisons emphasize clearly the that had Christ's side. over the as he had done in The Cask Amontillado. Klingsor, recovering spear pierced narrative, of not His of Parsifal show no no Cursed by Kundry, he does reach Montsalvat again until images action, setting?except after a on Good he in long wandering, Friday. There, baptizes vaguely architectural forms the first version (Fig. 3)?no of and a minimum of attributes: the repentant Kundry, heals Amfortas, and becomes King secondary figures, only helmet, the closest antecedents of the Grail.20 cape, and the spear. Significantly, Parsifal's and have the in terms are purity chastity performed miracle, his Parsifal compositional icons of Saint George but not without the brief moment of weakness echoing the in the Byzantine tradition, where the closely framed saint once holds a that also like an arrow. prophecy heard by Amfortas: "Enlightened through spear looks the innocent fool Mitleid der reine As to the transformation of Redon's Iinto compassion, [Durch wissend, Parsifal Druidess, name an there remains the of whether Parsifal had Tor].99 Wagner adopted for his hero's imaginary question Wagner's von a reason to a of etymology proposed by Johann Joseph G?rres: deriva any inspire change gendered identity. My tion from theArabic parsi (pure, chaste) and/?/ (fool).21 He comparison of Rochegrosse's knight with Joan of Arc already assume at in this direction: like other characters also had Parsifal the end the role of Christ, with points young defined him as a as Parsifal tends to a certain sexual or inde Kundry playing Mary Magdalen, and he understood virgins, lability of the artist who becomes of man another case in is Saint whom we have figure capable redeeming terminacy; point John, kind by renouncing the world.22 This combination of traits seen Redon equate with Parsifal. In addition, it is by rejecting corresponds closely to the image of the artist thatRedon had sexuality that Parsifal transforms his initial "foolishness" into to of Parsifal contem built for himself, in part justify and sublimate his feelings full-grown, spiritual purity. Among images of isolation and in this with Redon's the most in this inadequacy.23 Expressed private texts, porary lithograph, interesting can also be detected in his works under the of context is a Simeon Solomon in image guise slightly later drawing by male their resemblances to I A a It many figures, making Parsifal scribed Design for Motif from Parsifal (Fig. 14). depicts and Parsifal II significant. The Cask ofAmontillado (Fig. 10), for two heads in profile, the one on the left looking upward and to the character Fortunato in Allan the other which is covered with a veil and a bird's example, refers of Edgar one, wing, but on a more level shows the fool downward. Their features are almost Poe's short story generic identically androgynous as a oversize but the second one's lends it a more feminine victim.24 The figure's tilted head, hard features, headdress can all be as for their relation to one is eyes, closed lips, and melancholic expression appearance; Wagner's drama, found?amid obvious differences?in I to a to as but Parsifal and, tempted interpret them Parsifal and Kundry, they more could as well two or two moments of the lesser extent, in Parsifal II Apart from regular features, represent aspects same can same since the and attributes cho which bring it closer to Parsifal II, the be said of person, sparse ambiguous a sen Solomon for both Later Head Crowned with Thorns (Fig. 11), Christ-like representa by give arguments readings.26 tion of a in which the dark are in the twentieth more "gentle" martyr, eyes empha developments century yield explicit more sized even more by the light filling the lower part of the face but also idiosyncratic expressions of this tendency: in as a for and bust. the woodcut Richard Wagner Woman, example, Georg A of Parsi not down but comparison with contemporary representations Baselitz only depicted Wagner's head upside other artists is also Under the terms of a also feminized the in to the fal by illuminating. composer, order?according II for written artist?to neutralize his love of copyright obtained from King Ludwig Parsifal, pathos.27 most to forWagner's newly built theater, Parsifal could not be per The later interpretation relevant Redon by far is formed outside Bayreuth from its creation in 1882 to 1914. Hans J?rgen Syberberg's 1982 film Parsifal, inwhich the hero because of the is a man and a woman. In a "film Nonetheless?or perhaps restriction?images played by essay" published on von in the same the director calls them "Parsifal I" and of it proliferated, generally based Paul Joukowsky's year, as original sets and costumes.25 Joukowsky and most of his "Parsifal II" and explains their relationship follows. During a the two as if followers distinguished between the Parsifal of the first act, the overture, briefly appear united, sleeping more or in and the in an Then Parsifal I stands and "enters the less rustic simpleton peasant's attire, together egg. up Christ-like Parsifal who appeared after Kundry's kiss and the film" while Parsifal II continues to sleep, intimating that the

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4 Redon, Parsifal [I] presented upside down (artwork in the public domain; photograph provided by theArt Institute of Chicago)

I was for and following action is her dream while Parsifal lives his adven which Wagner attached historical, cultural, po ture as "our dream."28 The male Parsifal?looking remark lemical reasons.30 to on ably like Redon's Parsifal I at this point?is replaced by the In addition this intended improvement and updating one of also that the female (Fig. 15) when Kundry's kiss reminds him of Wagner's Weltanschauung, Syberberg thought Amfortas's which he now feels within himself. The disliked tenors and once a wound, composer, who reportedly praised of the face and Romeo would have cinematographic fusion female actor's body sung by Wilhelmine Schr?der-Devrient, (Karen Krick) with themale singer's voice (Reiner Goldberg) enjoyed "a female image of his androgynous Parsifal."31 an double visual-aural There are further reasons to this assertion. In produces unforgettable "image," good support which for some on that after spectators-auditors had the effect of "a chi her diary, Cosima Wagner noted June 27, 1880, a that the on mera, monster."29 Syberberg explained replace playing the first theme from Parsifal the piano, Wagner ment actor actor him to a of the male by the female enabled explained to her that he had had certain words sung by as to so nor mascu show Parsifal's rejection of Kundry mankind's resistance choir that they would sound neither feminine rather than as man's resistance to woman?as line. He further this device to Leonardo's temptation if, compared depic in an inner "better was to monologue, Kundry's part" warning tion of Christ in his Last Supper (Fig. 16), which amounted herself. The gender doubling of Parsifal thus presented a "an almost feminine head with a beard" and was meant to visible solution to "the intellectual of "the human features in neither man nor practical, difficult task" portray general, the biblical of woman as to It is worth here that Redon was a going beyond conception evil, woman."32 noting great

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on 5 Redon, Galloping Horseman, 1866, etching light gray wove X X chine affixed to ivory paper, 214 5V4 in. (6.3 13.3 cm). The Art Institute of Chicago, the Stickney Collection, in 1920.1523 (artwork the public domain; photograph provided by theArt Institute of Chicago)

admirer of Leonardo and that his Parsifal bears a definite to latter's a less one resemblance the Christ, although explicit than the painting Closed Eyes (1890, Mus?e d'Orsay, Paris), a in the artist's made a litho turning point career, popular by graphed version (Fig. 17). Musicologists have noted in Parsi numerous treatments of fal "androgynous" timbre, rhythm, and voice, including the triple choir of the Grail ceremony (act 2, scene 2) in which the progressive spiritualization is expressed not only by a higher position in the cupola but also a voices to the by desexualization of the from the knights These features have led the Canadian musicol young boys.33 Nattiez to consider that the of the ogist Jean-Jacques "religion future" preached by Parsifal and by Wagner aimed at the abolition of "all form of sexual and racial distinction."34

Druidesses thus referred to a rich and Redon's Parsifal clearly topical context issue sexual or inde that included the of ambiguity less case with al terminacy. This is obviously the Druidess, though the latter subject is far from isolated in the artist's work. A charcoal drawing with this title (Kr?ller-M?ller Mu a seum, Otterlo) shows schematic female form standing be a as were two of same side tree, if they incarnations the being.35 Beyond the connection of the Druidic cult with trees in Druidesses for forests and oak particular, represented Redon an of the between women and 6 and on wove expression affinity Redon, Bather, 1904, etching drypoint ivory X X its in the of his paper, 5lA 2?? in. (13.3 6.3 cm). The Art Institute of nature.36 Druidess also takes place long series the Collection, 1920.1524 (artwork in the female one of which, entitled The col Chicago, Stickney profiles, Fairy (1882, the Art Institute of public domain; photograph provided by lection of Mrs. Bertram served as a model for the Smith), Chicago) 1886 lithograph Profile of Light (Fig. 18).37 It shares with in conical the Druidess the elaborate headdress shape and as as a nose flowing veils, well relatively harsh profile with and one art and collector Edmond Picard in his forehead in line. The direction of their gazes, however, Belgian lawyer, critic, is and the Druidess heavier and more In Picard had asked different, displays "monodrama" Le jure (The Juror). 1886, which to describe the artist to this text with six meant to be "primitive" features, prompted Huysmans interpret drawings as "so crude To some as the chosen her terribly animal with her profile." "reproduced" lithographs.39 Among passages their difference can be to that between the Redon was the of a of the hero's extent, compared by description photograph in which and 1885 and the 1894 versions of Br?nnhilde (Fig. 7). An 1883 distant mother she appeared "dramatic grandi connects the female of a charcoal drawing entitled Spring profile ose, with the hairdo [or the headgear] Druidic priestess, trees filled with her luxurious and motif with the Druidess's association with and nature.38 theatrical, imposing, factitious, for the reference to a Druidic in a Redon but with about In As priestess title, loud life, nothing motherly her."40 typical seems to owe to a in the Redon?who had reasons to about his own it comparison made passing by fashion, complain

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7 on wove Redon, Brunnhilde, 1886, lithograph in black white 4% X X paper, 3% in. (11.8 9.9 cm), published in La Revue 8 The Art Institute of or on X Wagn?rienne (August 8, 1886). Chicago, 8 Redon, Parsifal Saint John, pastel paper, 2bVi the in X Stickney Collection, 1920.1606 (artwork the public do 1914 in. (64 49 cm). Mus?e du Louvre, D?partement des the Art Institute of main; photograph provided by Chicago) Arts Graphiques, fonds du Mus?e d'Orsay, Paris, RF 36521 in (artwork the public domain; photograph by Herv? Lewandowski, ? the RMN)

mother?transformed this a distant imaginative evocation of socialite into another female the with the Celts' to extract yet enigmatic profile.41 Picard, symbolized by Parthenon, ability who the must have noticed and from the heart of man secrets bought Spring following year, "the of infinity"; what charac this since he modified terized the "Celtic race" it in accepted transformation, accordingly and kept touch with the "prim the text as a itive was simplified quotation from his that he offered world," including India, idealism, disinterestedness, for the the "Druidic" character "an eternal source of and access to the de caption lithograph, extending folly," royaume f?erie, from a fashionable detail to the whole character: "Dramatic the fairy-tale kingdom.45 and with her a . . grandiose figure of Druidic priestess. ."42 On August 15, 1891, shortlybefore Redon created Parsifal I in was a Interest things Celtic very much part of Redon 's and Druidess, Edouard Sch?re published in the widely read fascination with and with the With the Ro Revue des Deux Mondes a on of origins primitive. long essay the legends Brittany, mantic to which the artist remained at in which he claimed that the Celtic race have movement, deeply although may the Celts and their the had to tached, priestly class, Druids, been lost its "distinct nationality," the "Celtic soul" continued hailed as the true ancestors of the French nation. live in as Brittany the French nation its "deep consciousness and and the where Redon had traveled from the some sudden and res Pays Basque, superior genius," preparing "splendid 1860s were as "the areas these In a later re on, widely regarded where urrection."46 historical study about the Celtic had been least diluted the same author defined the three "arcanes of the Celtic early origins by subsequent history."43 vival, a account soul" as sense of In semifictionalized of his decisive 1863 trip to the "the the occult powers of Nature and the he declared that its soil was to him "like an of Divine in Woman and in as well as the Pays Basque, feeling the Love," ancient where he seemed "to have to have sense of and Given the intimate homeland," lived, clairvoyance prophecy.47 to have and he of suffered, loved," expressed similar feelings connection between these ideas of femininity, the primitive, historical about In to their the a to continuity Brittany.44 opposition and irrational, Druidess had be the ideal incarnation conquerors, the Romans, who stood for instrumental reason, of the "Celtic soul." The most influential druidess from Ro and the Celts the mantic literature had in Cha logic, force, represented irrational, fantasy, appeared Fran?ois-Ren? de communion with and the unconscious. In his Souve Les ou Le de la chr?tienne nature, teaubriand's martyrs, triomphe religion nirs et de which Redon read and or d'enfance jeunesse, annotated, (The Martyrs, The Triumph of the Christian Religion), of a Ernest Renan told in 1883 of the legends he had heard as which Redon possessed a copy in the 1809 original edition.48 Breton and he contrasted the Greeks' the of a child, achievements, Inspired by story Vell?da, first-century Germanic

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9 Redon, Roland at Roncevaux, 1868 69, oil on canvas, 24 X 19V6 in. (61 X on 48.5 cm). Mus?e d'Orsay, Paris, at deposit the Mus?e des Beaux-Arts, Bordeaux, RF 1984.47 (artwork in the public domain; photograph by Lysiane Gauthier, ? Mus?e des Beaux-Arts, Bordeaux)

who had the Batavians' failed ends of and priestess-prophetess supported Brittany" inspired many artists well beyond its revolt the Chateaubriand her name to time. in against Romans, gave Thus, 1883, the Breton painter Jules-Eug?ne Le a Gaul last of the nine oracular a of first third-century Druidess, virgin nepveu gave descriptive rendering Vell?da's appear the of the de on ance priestesses ministering sanctuary ?le Sein, in Les martyrs (Fig. 19) as witnessed by Eudore hidden which the Druids buried their dead.49 The hero of the book, on the shore. It is as remote from Redon 's Druidess as Roche the Greek-born Christian Roman com Eudore, appointed grosse's Knight with theFlowers is from his Parsifal. But Cha mander of witnessed her to raise a revolt not or even Brittany, attempt teaubriand may have been the only the main her and an to itwhile source or reference for Druidess. In Sch?re a among people quickly put end taking 1887, published her She then fell in with him drama entitled which to enlist Vell?da prisoner. love and eventually Vercing?torix, attempted overcame his resistance in a dramatic scene a in the cause of French In his nighttime by post-1871 rejuvenation. preface, cliff. As the Gauls rose to her she avenge honor, proclaimed he explained that the Celts had brought to Gaul the Aryans' Eudore's innocence and took her own life. Vell?da is thus a fire cult and their "doctrine of the heavenly origin of the soul and memorable to whose and and of return to . . . touching figure, physical spir the possibility of its the divine world itual charms the narrator vivid he of were pays homage, although through the cycle existences": such the "old national condemns as barbaric and her sources" in which the "weakness of our superstitious beliefs, including generation" might her claim to be a This in find new is built around two fairy. condemnation is line with the vigor.50 Vercing?torix figures, author's intention to the of the Christian faith. and "the free Hero and the prove superiority Vercing?torix Gwynfea, inspired Chateaubriand's invention became of the Seer."51 a of and quickly part "leg Gwynfea, virgin priestess B?len, predicts

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on tan 10 Redon, The Cask of Amontillado, 1883, charcoal laid X X paper, 1414 123/h in. (36.2 31.4 cm). Mus?e du Louvre, D?partement des Arts Graphiques, fonds du Mus?e d'Orsay, in Paris, RF 35.822 (artwork the public domain; photograph by G?rard Blot, ? the RMN)

the rise of who unites the Gallic supports Vercing?torix, 11 Redon, Head Crowned with Thorns, ca. 1895, charcoal on a X X tribes in revolt against the Roman occupation. Vercing?to paper, 2214 1814 in. (50 37.5 cm). Collection of Dian is not content with their communion Woodner, New York (artwork in the domain) rix, however, spiritual public to him and pressures her give her love. When she consents, Gauls are she loses her superior powers and the defeated. She kills herself in the belief that Vercing?torix is dead; he is sorrow! Fearful sorrow! From the depths of my heart it cries to ask for his a A fortuitous can be ruled out since made prisoner but refuses pardon, while aloud."54 resemblance to to a writer fervent had shining Gwynfea appears him and shows him the way Sch?re, prolific and Wagnerite, pub The between hero and de a heaven. relationship prophetess lished in 1875 book entitled Le drame musical, the second to some extent on what Sch?re to be the volume of which was devoted to "work and it pends explains Wagner's idea"; Druids' doctrine of the three circles of existence: Anhwn (or was newly edited and augmented with a study of Parsifal in a to It that conceived Anoun) is bottomless abyss corresponding unconscious 1886.,0 appears Sch?re deliberately Gwyn matter fea some as a to and and animal life; Abred is the circle of transmigration (in aspects) female counterpart Parsifal, to is the the kiss scene in as a corresponding the human world; Gwynfyd superior Vercing?torix symmetrical?with gender circle of which inhabits until she inversion of the the one the happiness, Gwynfea steps protagonists?to representing to catches a dramatic climax and the in work. down Vercing?torix's level and horrifying turning point Wagner's of the Redon a of the book that had made glimpse abyss.52 possessed copy In an twist to Les name in Les initi?s: de Thistoire Vercing?torix, Sch?re gave interesting Sch?re's 1889, grands Esquisse source: martyrs, his immediate like Vell?da, Gwynfea loses her secr?tedes religions (The Great Initiates: A Study in the Secret and abdicates her but in her it is on was "en virginity priesthood, case, History of Religions). It inscribed with the dedication her and she obtains a but when protege's entreaty, redeeming power tr?s sympathique hommage" (in friendly homage), Chateaubriand details it is not On after her self-inflicted death. Whereas exactly he received known.56 February 25, 1892, remorse his Sch?re sent him a of with a letter of thanks Eudore's shame and following union with copy Vercing?torix Sch?re lets her and the she for the of the same We learn in it Vell?da, Gwynfea have say, words gracious reception day.57 utters arms that Redon had declared to a set for one while tearing herself away from Vercing?torix's himself ready design his kiss our attention: "The the Fire of the two scenes of the that were to be at Paul after deserve close Fire, play staged goes out! It is not on the altar any more, it burns my heart! Fort's Th??tre d'Art, specifically, the Temple of Fire for the ... saw scene the one in The light of heaven vanishes. I the abyss! Horror, fourth of the third act, which Gwynfea lover. In Fort asked Redon nothingness, darkness and death!"53 One is reminded of becomes Vercing?torix's addition, for a small one of the two to be Parsifal crying after being kissed by Kundry: "Amfortas! The drawing, inspired by scenes, The wound! It burns within heart! O on and in a of wound! my sorrow, reproduced the program forthcoming history

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14 Simeon Solomon, A Design for a Motif fromParsifal, 1894, on 18% X in. X 64.5 blue pencil paper, 25% (47.5 cm). Private collection (artwork in the public domain; photograph by Jos? Manuel Costa Alves, Lisbon)

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12 Henri Fantin-Latour, Parsifal and the Flower Maidens, 1885, lithograph, 17% X 12V& in. (45 X 30.7 cm) (artwork in the public domain; photograph provided by the Biblioth?que de Gen?ve, Geneva, Collection Charles Meunier 575, pi. 59)

15 Still from Parsifal, written and directed by Hans J?rgen TMS Film Parsifal II Syberberg, 1981-82, Munich, showing I kiss replacing Parsifal after Kundry's

on eve own appearance of the Druidess the of his produc the evidence tion."60 However, only chronological regarding of Druidess?and II?is the creation and publication Parsifal note of thanks to October Redon's dating of Huysmans's 11, the to More 1891, and Mellerio's catalog dating prints 1892. had been available since and Redon over, Vercing?torix 1887, could have read it, or heard of its line, well before with the story 13 Georges-Antoine Rochegrosse, The Knight Flowers, a from the author. 1892, Redon's art had 1894, oil on canvas, 92M> X 147% in. (235 X 375 cm). Mus?e receiving copy By become with the and occultist circles in which d'Orsay, Paris, RF 898 (artwork ? 2007, ProLitteris, Zurich; popular mystic Daniel ? the 's was both were in the Rue photograph by Arnaudet, RMN) Sch?re reputation greatest; living d'Assas, and Fred Leeman has convincingly compared to Redon's of the of art Schur?'s syncretism conception goal an short no Even if the theater.58 For unknown reason, maybe the and his fusion of Christian and Buddhist themes.61 sets were Paul but chance as Sch?re was tice, the eventually created by S?rusier, Druidess had appeared by just planning Druidess was on the a of and without Redon aware of apparently Redon's reproduced printed staging Vercing?torix being of the Ted Gott has that Sch?re the does not seem coincidence program play.59 suggested play?which plausible?this been led to Redon the fortuitous rested on shared ideas and interests. "may well have approach by

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in on cream 17 Redon, Closed Eyes, 1890, lithograph gray-green to wove X X chine affixed ivory paper, 1214 914 in. (31.2 Last in 24.2 cm). The Art Institute of the Collec 16 Leonardo, Head of Christ, study for The Supper Chicago, Stickney tion, 1920.1672 (artwork in the domain; S. Maria delle Grazie, Museo di Brera, Milan, photograph by public photograph the Art Institute of L?on G?rard, 1857-58, albumen silver print. Collection provided by Chicago) in Dietmar Siegert, Munich (artwork and photograph the public domain)

their en Polarities and Inversions their purity and chastity, inevitably endangered by now as "Parsifal" with world and the attraction It is clear by that collective cultural entities, gagement the material by they had features in exerted. As for the differences between Parsifal and the Dru and "the Druidess" many common, especially some was based as like the two in fin de si?cle France. To extent, this affinity idess, they made them appear complementary, on derived from the halves of a Parsifal's access to the their origins, since the Grail legend yin-yang symbol. spiritual Celtic and was thus more unconscious and than mati?re de Bretagne of orally transmitted legends mediated, progressive tales. This was a for whose interest the but his access to action was more direct. This significant point Wagner, Druidess's, stimulated inverted was most obvious in matters of sexual in the legends of Perceval/Parzival had been by symmetry as a of a his reading of Th?odore de la Villemarqu?'s 1842 Contes identity: chaste young boy and something seer, des anciens and it was a crucial one for Parsifal was while the Druidess was rel populaires Bretons, relatively "feminine," reason of her and heroic con Schur?, who insisted in his 1891 essay that the Celtic bards atively "masculine" by power to duct. as we have this had given birth the Arthurian legends culminating in Sch?re, seen, exploited complementary act and Perceval's quest of the Grail.62 For Redon, among others, character and made it explicit by having Gwynfea both therefore to a a he also let her define herself as figures belonged "primitive" world, speak like female Parsifal; in nature and the na the twin of the hero "I am steeped specifically forest, combining spiritual Vercing?torix: your sister, of a national renewal?with a uni immortal tional roots?and hopes yes, your sister!"64 dimension in a Parsifal This relation between the two as existed in versal expressed syncretic religiosity. figures they and the Druidess were not of and Redon's in addition to the between just part epic, legend, myth, time, genetic relationship were also members of select caste of heroes and the two seems to me a reason to consider they the prints, compelling access to truths closed to reason and Druidess as a double We prophets, having superior Parsifal forming together image. and This seen to that possessing redeeming powers. superiority, however, have in the album Homage Goya (Figs. 20, 21) or a a could make them appear foolish insane, contradiction Redon had had such contrast in mind for several years. typical of the Romantic and Symbolist image of the artist.63 Beyond his work, Parsifal/Druidess is in good company: polar a access to was or of traits from the two And condition of their the spiritual realm images images polarity, combining

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18 Redon, Profile ofLight, 1886, lithograph on paper, 12 X X Art 9V2 in. (30.4 24.2 cm). The Institute of Chicago, the in Stickney Collection, 1920.1597 (artwork the public domain; photograph provided by the Art Institute of Chicago)

elements of one or of several dualities, including that gender, are common in most if not all societies and from the Moon oil on periods, 19 Jules-Eug?ne Lenepveu, Vell?da, Effect, 1883, heads "the in Clas canvas, 91 X 51% in. X 131.5 Mus?e des Beaux Janus-like representing Dionysus Hybrid" (231 cm). in the to statues Arts, Quimper (artwork public domain) sical antiquity African bisexual anthropomorphic to and motifs still present in popular visual culture.65 Many to or techniques have been used produce the simultaneous two or same in times of conflict and alternative presence of images aspects of the mutual exclusion. Especially disrup list is it were to be in terms of lie versus image, and the constantly expanding: includes paint tion, they apt understood on same versus and the from one ing both sides of the support?several Byzantine truth, appearance reality, passage an of on to was as an unveil icons of Saint George have image the Virgin the element the other construed polemically on or or In this the of direction back?and zigzag-shaped T-shaped supports (in the ing unmasking. context, change case associations of the of Riefelbilder and Lamellenbilder)', photomontage and benefited from the anthropological top/ of im Bakhtin has demon "composite portraiture" (the superimposition several bottom opposition. Mikhail famously on one as dimension of the ages negative); industrial printing techniques such strated the subversive carnivalesque top the 3D-stereo with re of but and ritualized inversions so-called images, particularly popular pling values, temporary as to and reinforce the ligious imagery; digital manipulations such morphing and tended ironically confirm eventually of relevance for our a hierarchies This is photomosaics; and, particular topic, they apparently disrupted.67 particularly of direction of the often of 180 as in evident in the case of the mundus a theme change image, degrees, inversus, developed in on and in the French type of playing cards.66 prints from the sixteenth century still vivid two of a In the "world turned Semantic relations between the elements double nineteenth-century popular imagery. are animals their masters and children their image and interpretations of their combination varied upside down," whip can from a statement of to and women and men The and be manifold, ranging identity parents, exchange roles.68 gender one to one of diametric and inversion forms the center of an of this ico of complementarity opposition early example

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??-?toil 'Ktv?tf a 20 Redon, In My Dream I Saw in the Sky Face ofMystery, 1885, 1 of to in on 21 I Saw theGoddess the pi. Homage Goya, lithograph black light gray chine Redon, Upon Awakening of Intelligible wove X X with Her Severe and Hard 1885, 6 of to affixed to ivory paper, IIV2 9V? in. (29 23.9 cm). Profile, pi. Homage Goya, in black on chine affixed to wove The Art Institute of Chicago, the Stickney Collection, lithograph light gray ivory 1014 X 814 in. X 21.5 The Art Institute of 1920.1587 (artwork in the public domain; photograph paper, (27 cm). the 1920.1593 in the provided by theArt Institute of Chicago) Chicago, Stickney Collection, (artwork public domain; photograph provided by the Art Institute of Chicago)

a a dress and with two on on nography (Fig. 22): bearded man, wearing captions commenting each aspect and the a kneels at the feet of a woman in from one to A of uses holding distaff, man's garb passage the other. Spanish series 1875 with a on a a the to female sword, proudly leaning long lance; bit further, beard/hair analogy oscillate between male and a hen mounts a rooster. In one busts. instance (Fig. 24), the simultaneous presence of The late nineteenth saw a of double both sexes is in me century surge images made explicit: "What is vanity, / Once as of an and If (and multiple ones) part exploration exploita reversed, shows gravity. // you fall in love with me, pretty tion of visual cartoonists and Be aware that I am a ambiguity by independent, one, / hermaphrodite."71 artists A that then en monstrous "avant-garde" alike.69 popular genre This "hermaphrodite" has features, but in the was as fin joyed its heyday the picture puzzle known in French de si?cle, the figure of the androgyne increasingly became the in which were asked to answer a an in connection with the image-devinette, spectators ideal one, social changes that in the of the discov roles and identities. on question expressed caption drawing by challenged traditional sexual Drawing one or several within it. The sources to ering iconic features hidden many from Plato's Symposium Honor? de Balzac's most common device to conceal the fu employed by draftsmen Seraphita, "Decadent" and Symbolist authors defined these one or one as features?generally several figures?was the sion of male and female traits in person the original of direction of the In an undated and final form of its its change image. example, mankind, "archetype" and salvation.72 in 1938 a member of the was reproduced by Georges Hugnet, This ideal approached from both sides of the usual men women Surrealist group who delighted in such antecedents of the divide, with figures of young and young display method" of the bearded we seen in Parsifal "paranoiac-critical interpretation, ing the symmetrical indeterminacy have and turbaned face of a considered and the Druidess. The was evoked in sultan, upside down, androgyne frequently "reveals" that of his favorite It is worth a (Fig. 23).70 noting the works of Gustave Moreau, Edward Burnejones, Fernand other in the compositional similarity in Redon's Parsifal/Druidess, in Khnopff, and many artists, especially "literary" which the man's neck also turns into the woman's headdress. branch of Symbolism gathered from 1892 on by the flamboy The to the of ant sultan/favorite image belongs type "upside "S?r" Jos?phin P?ladan around his Salons de la down often on so heads" printed cards, matchboxes, and on, Rose+Croix in Paris.73 Redon explicitly declined P?ladan 's

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LEGRAND TURC ETSA FAVORITE

22 This Way Goes theWorld Turned Upside Down, detail, late 16th on century, engraving paper. Biblioth?que Nationale de France, Cabinet des Estampes, Paris (artwork in the public CHERCHEZ LA FAVORITE? domain) 23 The Sultan and His Favorite, late 19th century, published in Minotaureb 35 Georges Hugnet, "Devinettes," (1938): (artwork in the public domain)

to in invitation participate the first of these exhibitions, but were there many indirect links between the two men at the a was of the artist's and time that Redon created Parsifal and Druidess?4 In letter of the latter preparing the catalog prints to asked him about the his January 10, 1891, Edmond Picard, Redon defined the "preliminary concepts" guiding as an Such a could exert a lithographed version of Closed Eyes (Fig. 17) "the head of hand. concept, Redon replied, only In the same P?ladan the "relative and indirect action" and was often but an initial androgyne."75 year, published plan volume of his of novels La d?cadence latine the "in order to follow the eighth cycle under quickly abandoned along way a of our the title L 'androgyne. This story of fifteen-year-old "modern enchanting and unexpected paths the imagination, nerves to us seduc hero" with "all the femininity of appearance and of sovereign lady, she who reveals magnificent that is with was to tions that take us us." he compatible male positivity" dedicated the by surprise?and conquer Instead, Marie and confided that he pianist Th?r?se Gastelier, whose execution of Parsifal stressed the role of the artistic materials, and Tristan had reminded P?ladan of was a sheet of blank and to the sensations he had "horrified by paper" needed in him to over in or other experienced Bayreuth. This enabled admire her "scribble it charcoal, pencil, any medium, life to He on head "? la Correggio and parsifalized' before kissing her and this operation gives it."77 emphasized a . . the "hands of musical Druidess. ,"76 several occasions this agency of materials, comparing creative process with divination: "Matter reveals secrets, it has own matter that the will Process its genius; it is through oracle Given the inverted on a semantic level symmetry existing speak."78 of our in two between the cultural figures Parsifal and the Druidess, the These declarations illuminate subject ways. First, and character of Parsifal and the widespread character of "upside-down heads" visual puz they show that the prophetic one be Druidess not to of the zles, and the topicality of the androgyne, may tempted corresponded only Redon's image to conclude that far from a acci artist as seer but also to his of the artistic being meaningless studio understanding I must a onto dent, the transformation of Parsifal into Druidess have process. His metaphor of "way" opening "unexpected a conscious intention and to a is to the Parsifal? resulted from corresponded paths" similar "wandering" performed by too so in of after predetermined program. This, however, would be going like many knights tales chivalry?especially far in the and we must heed to the curse: "The that You shall not find: opposite direction, pay Kundry's way you seek, / a as curse warning that Redon gave Andr? Mellerio few years later / For the paths and ways / That lead you fromme, / I

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them for you: / Wander! Wander!"79 After wandering "along of error and in a his paths suffering" and, sense, by way of the of wandering, Parsifal eventually reaches domain the an was Grail. The analogy with artistic quest implied by Wagner and would be made explicit by Joseph Beuys in an von who to interview with Antje Graevenitz, pointed wander as a common to the ing theme the composer and artist.80 When heroes abandon she added that Wagner's wandering on control and fail, Beuys replied that Parsifal, the contrary, to to "wanders find the secret" and is led the highest spiritual aim. He an of this gave epistemological interpretation quest that enabled him to contradict Friedrich Nietzsche's con demnation of to reconcile the ideal of Wagner and searching with the attainment of truths": "In someone who "spiritual a new wanders there is always human being, who keeps or and is never at the end of his or opposing himself herself, her evolution. This is what the Grail really is."81 statements as we Second, Redon's imply that, had already not on I imagined, he may have started working Parsifal with the intention of representing Parsifal but rather may have discovered or him the A "recognized" along way. comparison was with the with Parsifal II, which certainly begun "predeter mined of confirms this concept" representing Parsifal, hy pothesis (Fig. 1): while reproducing the main traits of the Redon also eliminated the ar original composition, vaguely on chitectural elements at the top and the left, which, rather than belonging to the Parsifal iconography, look like vestigial remains of in favor of the one we see. "paths" abandoned Since no about the Redon gave explanation process leading to we are a Druidess and Parsifal II, left with what close of the and a of examination prints knowledge lithographers' methods can and Redon's working yield. Redon drew his on generally lithographic compositions cover 24 Matchbox with double reversible head, 1875, Spain. was onto autographic paper, which then transferred the in Collection Van der Plank (artwork the public domain; on stone more or stone; he made the itself less extensive photograph provided by Julian Rothenstein) additions and corrections with lithographic crayon, liquid and various tusche, scrapers.82 Any paper, properly prepared, could be used for often the transfer, and Redon exploited structure or a nence: a union with of the sheet of support placed beneath itwhile "One makes temporary, badly matched for and to stimulate his the and it is one should and drawing textural effects imagination, printer, sensible that agree get in a Max Ernst's In the case of with him. But a work of art is not made two way anteceding frottages.83 along by people. it that he used a laid since the One of them must The with a Parsifal I, appears paper, grid yield."85 comparison marriage to comment was a formed by the finely spaced vertical laid lines and the coarsely led Pat Gilmour that "Redon essentially visible close loner who could not conceive of art as collaboration and spaced horizontal chain marks is clearly up, in The elements this with a especially the upper part. "architectural" coupled inability nineteenth-century conception mentioned follow this and have been in of An examination of Redon's already grid may marriage."86 relation?profes as as Falte does not spired by it. The transformation of Parsifal I into Druidess sional well private?with his wife Camille could also have been of in this in few artists if at made by way autographic paper: support contention, but, any case, any order to avoid it was to an the time would have conceived of a collaboration extensive scraping, possible pull challenging of a onto a sheet and then shift it via the their artistic The sensitive intuition impression design authority. expected by transfer onto a stone. The stones them Redon from the and from the master process newly grained printer especially pull on a toward him a selves, the other hand, could travel back and forth be ing the trial proofs goes long way granting tween status. the printer's and the artist's studio.84 The transforma truly participatory tion of Parsifal I may also have taken place in the print Redon's conclusion about the duration and success of and the a in it. "matches" must be related to his workshop printer have played role these relatively frequent In Redon about the fact that an of In he had retrospect, complained changes printing partner. early 1887, stopped artist producing lithographs had towork very closely with the working with the Lemercier firm,which had editioned all his He as from the in favor of who printer. defined the latter's participation "precious lithographs start, Becquet, printed senses or stones is about when intuitive, harmful and deplorable when it his until 1894. Unfortunately, nothing known and he insisted on the artist's and his collaboration with Redon. The guesses nothing," preemi Becquet's personality

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a 25 Redon, Young Girl in Blue Bonnet, X probably early 1890s, pastel, 207/h 15V2 in. (53 X 39.5 cm). Mus?e RF in d'Orsay, Paris, 40493 (artwork the public domain; photograph by Herv? Lewandowski, ? the RMN)

two must have that I was a failure and could of in agreed Parsifal mystery created by this way working layers, which has not be editioned. Did Redon chance to see the stone upside been aptly named the "archaeological method" by Gert Mat in down in the studio and think of turning the unhappy image tenklott and analyzed depth by Harriet Stratis.88 into a new the for revers one more one, possibly encouraged by vogue The metamorphosis of head into another is ible heads and Did the that in Girl in a Blue Bonnet than in the case visual puzzles?87 printer propose straightforward Young Redon result before a new version of of I to "recycle" the producing Parsifal / Druidess: the faces correspond closely each We have seen that the meanders of Redon's creative are inverted. the from Parsifal? other and "simply" Conversely, passage could of orientation redirections I to is as a "way" include changes and Parsifal Druidess far from obvious, comparison of matter In such cases two subject (Figs. 5, 6). fact, many remain between the demonstrates (Figs. 2, 4). The front part of to be discovered: to one heads the give only example involving Druidess's headdress with her veil emerges effortlessly and a reversal of 180 degrees, the pastel Young Girl in a Blue (and without significant modification) from the portion of Bonnet reveals a bust uncovered his but her (Fig. 25), turned upside down, second (prob Parsifal's by mantle, constructing to one face and her own bust ably female) profile slightly the right of the first and required disregarding?and erasing, to at which did not succeed?the outline of his as running parallel it,with the eye the level of the mouth completely neck, versa. as and vice Whether Redon intentionally left enough of well his mouth, nose, and eyes. To sense?with the benefit an this earlier stage of the work visible for expert eye to notice of hindsight?the possibility of the Druidess pattern latent in is hard to but he relished the and I to concen say, clearly ambiguity Parsifal considered upside down, it is necessary

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trate on the tonal values rather than on the outlines and to followed was not only winding but could also occasionally turn as as from one work into the ignore the representational functions of the forms while back, well continue given one. probing their iconic potential. In thisway, the ectoplasm-like next It appears that this iswhat happened with Parsifal I seen bright zone formed by the illuminated side of Parsifal's neck and Druidess. We have that the front part of the Dru to crescent as a from the of Parsifal's and face, connected the interpreted head idess's headdress emerges easily portion can a bust uncovered his mantle. In ifmakes more iconic dress, coalesce into female profile. by fact, on sense as headdress than as and in II Redon It is worth reflecting the cognitive abilities and the shoulder, Parsifal state in such a It a has taken care to this and it into the psychological involved process. requires open up shape integrate for abstraction that is not to iconic rest of Ifwe I capacity opposed repre the bust. reconsider the inverted Parsifal (Fig. sentation but rather serves it in the end. To some extent, this 4) in this light,we understand that the outline of Parsifal's is what the studio and the art theoretical notion of another outline practice shoulder has actually disrupted linking the macchia, the "blot" in which the nucleus of a composition is Druidess's headdress to her train; a new look at Druidess (Fig. contained and out of which itmay develop, had been about 2) shows that Redon had only to obliterate the rest of Parsi since the Renaissance.89 In the 1890s, the macchia was used fal's bust for this earlier outline to reappear. Moreover, the most Gustave Moreau in his abstract numerous of leaves and flowers scattered spectacularly by shapes throughout which were considered but have in sketches, long nonobjective Parsifal I, which mostly disappear Parsifal II, fit better into context. begun to be connected with existing paintings.90 Disregard the Celtic Druidess iconography than into the Grail or stimuli is also For all these it seems to that ing the iconic function "meaning" of visual reasons, logical suppose something that John Ruskin had recommended when he Redon began by drawing not a Parsifal but a Druidess of as "a sort of no defined in 1857 the "innocence of the eye" which there exists impression. The hypothesis of this childish perception of these flat stains of colour, merely as Druidess I lying buried in Parsifal I even helps to explain and some Parsifal's uneven which his raised arm such, without consciousness of what they signify," strangely shoulders, thing that the Impressionists, Claude Monet above all, had and awkward cloak do not suffice to justify.A composition In a radical that recurs in Redon's which is related to his been pursuing.91 1895, Paul Val?ry expressed work, certainly epistemological version of this ideal in his Introduction ? la youthful infatuation with the landscape and women of the most shows a female bust in in front of two m?thode de L?onard de Vinci, in which he reproached Basque country, profile more with a or sun a halo people for seeing "with their intellectmuch often than steep mountains, rising setting forming with their and advocated a on for her head. Redon's second A eyes" "pure gaze things."92 lithographic album, Edgar What interested Redon most was the evocative virtue of this Poe, included a version of it in 1882 (Fig. 26), the 1885 its to stimulate invention and lead to other it to a disregard, ability Br?nnhilde (Fig. 7) significantly connected Wagnerian Leonardo had indeed female and another version would in 1896 in iconic interpretations?aspects that warrior, appear in his works and to explored and expressed writings. Moreover, the third album devoted Gustave Flaubert's Temptation of Redon wanted to preserve the possibility of multiple inter Saint Anthony (Fig. 27). The reference to Poe may have his to continue Redon to resort to the "black sun of pretations in finished works and let the viewer prompted Melancholy," the process he had initiated, which accounts for his letting while Flaubert's evocation of the goddess Cybele as "the instead of Idaean Mother of the Mountains" him a the successive layers shine through their surface gave ready opportu the traces of his How clear to An obliterating "meandering." nity reintroduce this image of divinized femininity. was can be in sighted and articulate he about this attitude approximately contemporary version oil (Fig. 28) reduces of the to its bare essentials and the grasped from the definition he gave in 1902 of the "sense composition paints sun/halo he in in a red to that for mystery," which, wrote, "consists continuous ambiguity, revealingly close used Roland's cape/halo in the double and triple aspects, hints of aspects (images in the 1868-69 painting (Fig. 9): in this detail also, themale within forms that are about to come into or hero the are images), being and female quasi-goddess relatives.95 their from the state of to the inverted we see will take being onlooker's mind."93 Returning Parsifal I, that what be The in this manner for a came the of works produced called particularly outlines Parsifal's shoulders could have served to first to delineate two similar mountains. can active beholder; in fact, they delegated the beholder part Centrifugal rays of the artist's agency. This is also what the images-devinettes be detected in several parts of what would have been the sky were in a more and deterministic and area most doing explicit way, (Parsifal's bust), strikingly in the lower part of the their popularity at the time both supported and attested to Druidess's veil: it is as if, thanks to this device, the sun and the the of such an even woman become one. can availability active, manipulative approach had The flowers and leaves that also to a be detected here are images. A few years later, in 1896, Alfred Jarry submitted generally absent from the "woman-bust to but are print by Albrecht D?rer precisely this kind of reading, against-sun-between-two-mountains" formula, they his remarkable sense of the of forms to in using dynamism present many other images of female profiles with possible extract The Saint references to such as the mentioned from the engraved lines of Martyrdom of Druidism, already Catherine the "hidden" figure of the already decapitated Spring. The composition and proportions of the hypothetical saint.94 Druidess I are almost identical with those ofHead of a Woman Whereas the commercial of visual would one out was designers puzzles (Fig. 28) if leaves its lower part, which indeed normally start their drawings with the intention of hiding canceled when passing from Parsifal I toDruidess. But before and an idea of what wanted to we embark on a final reconstruction of this in something they conceal, metamorphosis Redon let himself be led the mate all its successive we must to by suggestions of artistic stages, try establish whether rials and associations of ideas. This means that the he Druidess lis more than a a "way" hypothesis or, worse, retrospective

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27 Redon, Here Is the Good Goddess, the Idaean Mother of the Mountains, 1896, pi. 15 of Temptation of Saint Anthony (3rd on X X series), lithograph chine appliqu?, 5% 5 in. (14.9 12.8 cm). Mus?e d'Art et d'Histoire, Geneva, Cabinet des 26 Redon, the Black Sun Lenore Before ofMelancholy, Appears, in the of To X Estampes (artwork public domain) 1882, pi. 2 Edgar [Allan] Poe, lithograph, 65/s 5 in. X The Art of (16.8 12.7 cm). Institute Chicago, the Stickney in Collection, 1920.1571 (artwork the public domain; photo graph provided by theArt Institute of Chicago) reasons point, and for yet unknown, he turned his support down and transformed the I upside incipient Druidess into Parsifal I. The observations I made about the passage from of Druidess onto I. What can tell us this is I to Druidess to this earlier and projection Parsifal Parsifal apply one, comparing an trace of the former in the a of Druidess unambiguous latter, since, particularly light impression presented upside unless several states of it have been a down with I can printed, lithograph (Fig. 32) Parsifal (Fig. 3) be illuminating.98 delivers all its it im This I to chronological "layers" together, making transformation from Druidess Parsifal I may have to between them or to retrieve the in the possible distinguish earlier happened printer's studio, and Becquet may have ones with the used for the scientific of a in all more as master were techniques analysis played part it, the printers, who or even for the of the could paintings drawings.96 Macrophotography, however, responsible etching process stone, regain can to confirm observations made with the naked If earlier elements of a help eye. chemically design and produce inten we an compare enlarged details of the Druidess (Fig. 29) with tionally the "ghost images" that sometimes result from those of the section of I we at corresponding Parsifal (Fig. 30), insufficient regraining.99 As for Redon, he displayed this note that curved lines visible at the base of Parsifal's the to faintly stage ability already discussed reinterpret and reorga neck indicate the where the Druidess's will nize a visual already spot eye configuration completely, inverting, for instance, the the appear. The (re)imposition of this eye and other facial details figure-ground relation by turning negative space in Druidess was not drawn with the but between the lithographic crayon mountains into the positive shape of Parsifal's with a and which results bust. He also more new pen lithographic tusche, fortunately needed space for the figure's head in a distinctive for the two one still and a new appearance stages. Should spear, and he obtained it by adding piece of fear the Druidess onto a this is what a projecting Parsifal I, superimposition autographic paper: explains, rather than flaw in of the two the the horizontal line at the level of details, each colored differently and slightly shifted stone, running Parsifal's should doubt: when the Dru that at the of the initial In (Fig. 31), dispel any drawing eyebrows, is, top composition.100 idess's a was and to eye with pen, Redon retracing accentuating order extend what had been the Druidess's veil and make a that was sense of it in this new Redon turned it into a vertical design already present.97 context, We must therefore assume that Redon a a must began by drawing pillar supporting vague lintel. The result, it be admit of the I called was rather one reasons composition type "woman-bust-against-sun ted, awkward, and this may be of the with elements between-two-mountains," vegetal probably al why the artist decided not to edition Parsifal I. Another to an association with Druidism. At some reason could be that for someone aware ready pointing of this genesis, the

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Druidess and Parsifal remained enmeshed together in this image, a bit like themale Parsifal I and the female Parsifal II at the In beginning of Syberberg's film.101 any case, Redon's eventual solution to amounted separating them: he retraced his steps toward the Druidess figure, redrew her features, and eliminated most and additions, concealing also the landscape the elements under a dark plant uniformly background. an new on Then he drew altogether Parsifal, based the pre vious one but freed from the unsatisfactory features engen dered in the process of metamorphosis.

"Unconscious" Synthesis Now that we have a schematic but complete view of this it is to return to phenomenon, possible the question of its or relatively "accidental," "intentional," "unconscious" char acter. The term was last introduced by Redon himself and a brief look at the and requires prehistory early development of psychoanalysis. In his already quoted letter of 1898 to Redon of his creative Mellerio, concluded the description process by adding that imagination, la fantaisie, "is also the of the that and messenger 'unconscious,' lordly mysterious His use of the term "unconscious" in personage."102 quota tion marks refers to von probably Eduard Hartmann, the German philosopher whose 1869 Philosophie des Unbewussten had been translated into French in 1877.103 Hartmann con X sidered the unconscious" to be the of 28 Redon, Head a Woman, 1896, oil on cardboard, 10% "psychological origin of 10 in. X 25.5 Van Amsterdam conscious mental an (27.7 cm). Gogh Museum, life and thought it derived from "abso (former Bonger collection), S 467 N/1996 (artwork in the lute unconscious" the substance of the universe. He forming public domain) held that artistic was based on unconscious production pro cesses and described with artists, together martyrs, prophets, and as a mystics, the principal repositories for "fusion of sensation and a turn to a voluntary involuntary hallucination."104 Redon 90-degree reproduction of it (Fig. 33).107 Since the must aware "vulture" derived from a translation used this also have been of the highly publicized work of faulty by Freud, un to Jean-Martin Charcot and Hippolyte Bernheim, but it is observation is of little relevance Leonardo, but it demon strates a to likely that he would already have heard of Sigmund Freud's turn-of-the-century approach images?already of the unconscious. The are too to was analysis parallels, however, applied by Jarry D?rer?that schooled by the images numerous to be fortuitous and to common sources and devinettes and oriented the of point by "unveiling" impulse psycho concerns. an Freud, who gave sexuality importance compa analysis. Freud mentioned Pfister's "discovery" and repro rable to that in his accorded by Wagner works, including duced its explanatory drawing in the 1919 edition of his a manifest and a latent con Leonardo in which he added that in the Louvre Parsifal, distinguished between study, paint tent of and he used a with the of the seated on her mother's dreams, repeatedly comparison ing, position Virgin lap to describe the effort of to in two con archaeology psychoanalysis go resulted the being "merged together like badly from the manifest back to the to "unveil" the densed dream the of the latent, deepest figures."108 Among operations of the The free association to layers psyche. of ideas, which he "dream work" according Freud, "condensation" (Verdich turned into a also has similarities is the of the of double or therapeutic tool, with Re tung) equivalent making multiple don's of the creative I to understanding process, geared toward images, and Parsifal could be said by analogy merge fostering the "coming" of the "unconscious."105 together Parsifal and the Druidess "like badly condensed i c "109 an some Freud had intense interest in the visual, and of his dream figures. the new science to In most use of was disciples applied psychological images. By far the influential analytic images Oskar Pfister used the of dream devised in the same the Hermann Ror 1913, technique interpreta years by psychiatrist tion to a a analyze automatic drawings produced by French schach, friend of Pfister, and made public in 1921.110 The at his He these scribbles as a test painter request.106 regarded biographical and cultural origins of the Rorschach still in coded form a content to an us cryptography revealing of which need be explored, but interesting point for is that it their author was unaware. Pfister in further argued that similar derived part from divination techniques, parlor games, in works of art and in elements could be found called them and spiritualistic experiments popular southern Germany "unconscious the German name for Vexierbilder,99 using pic and German-speaking Switzerland since the mid-nineteenth ture He the of a vulture What Rorschach did was to the puzzles. gave example that, inspired century.111 put interpretation by Freud's Leonardo da Vinci and a Memory ofHis Childhood, he of blots, a tool that had been used for both ludic and tran a had discovered in the draperies of The Virgin and Child with scendent communication, in the service of psychological Saint Anne and Saint the in the too to John Baptist Louvre after giving analysis of perception. It would take long show how

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29 Redon, Druidess, detail, 1891, on lithograph mounted ivory China X X paper, 9j/h 8 in. (23.1 20.2 cm). The Art Institute of Chicago, the Stickney Collection, 1920.1697 (art in work the public domain; photo graph provided by the Art Institute of Chicago)

the artistic recourse to chance was must men widespread around A last disciple (turned rival) of Freud who be to tioned is Carl 1900.112 By "scribbling over" the sheet of paper give it life Gustav Jung, who provided the model for and the artistic materials as if were Rorschach's a approaching they oracles, psychological typology. As child in the mid Redon such a to his "fictions." a developed technique produce 1880s, Jung had filled whole notebook with ink blots and the direction of the and the their "fantastic His later Changing support disregarding enjoyed interpretation."113 work, iconic function of the as he did to transform the on would find in a universal mus?e image, bordering anthropology, Druidess I into amounted to his a to putative Parsifal I, treating imaginaire pathway the "collective unconscious." This a or a to work almost like scribbling Rorschach test?almost, notion relates Hartmann and may be closer to Redon's since the semantic affinities between the Druidess and Parsi of the than Freud's understanding unconscious pansexual fal show that the former was involved in its mentor metamorphosis conception. Jung notoriously broke with his around and that it functioned like a extraction as as saw as a more mine for much the role of sexuality in the libido, which he a surface for projection. universal, primordial vital energy. He also reproached Freud

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30 Redon, Parsifal [I], detail, pre sented upside down (artwork in the public domain; photograph provided by the Art Institute of Chicago)

to to "others" a with being "blind the paradoxical and ambiguous charac unconscious.116 Jung attributed these hidden ter contents of to and he inter of the of the unconscious, ignorant the fact dynamic tendency become autonomous, a a an of as that everything emerging from it has top and bottom, preted, for example, Wagner's figure Br?nnhilde inside and an In his book The anima turned much to her father's outside."114 1912 Metamorphoses Wotan's independent, of and Symbols of the Libido, Jung explained the presence displeasure.117 on statues of fact that Druidess I phallic symbols goddesses by the "some The resemblance between these ideas and the / masculine is hidden within woman as I Druidess transformation is Parsifal thing just something Parsifal / striking: emerged feminine is hidden within man."115 He later developed this out of the Druidess and the Druidess out of Parsifal very into animus two their and idea the concepts of and anima, "archetypes" much like crystallizations of respectively male fe a "masculine nature" in the of But we from chance to personifying unconscious male "unconscious." have gone design woman a in man to to and "feminine nature" the unconscious of finally attribute this metamorphosis "the unconscious," or after and connecting individual consciousness with the collective individual collective? It is well known that Freud,

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<"%% 31 Combination of details from Redon, Parsifal [I] (1975.493) in purple and Druidess (1920.1697) in orange, slightly shifted, composite Karin Patzke, the Art *}& /. photograph by Institute of Chicago (photograph Art Institute of provided by the Chicago)

and artists for he as their Let us be clear! The to be to the word Dream envying writers what regarded meaning given the is not one visions in "endogenic" knowledge of human psyche, progressively the popular prosaic (inevitable sleep), came to as neurotics and to treat their works as nor the rare one visions when it is regard them poetic (voluntary awake); The issue of the of control over the both of awake and it is the dream of symptoms.118 degree them, dreaming, strictly was to a of inevitable creative process of great relevance Redon, who had dream: the voluntary arrangement visions."119 reasons to fear the of this we can envision the creation of good psychopathological explanations Using model, Parsifal from convention and common all and Druidess as a dialectical both chance artistic departures sense, process involving more as matter included and consciousness and "the unconscious." Accidental the his subject dreams, hallucina design, even critic and unconscious rather factors must have tions, and insanity. In 1885, the young Charles (or subconscious) set in a that the at the the elabo Morice the record straight way especially pleased played greatest part beginning, during on album to ration of Druidess I and its transformation the artist. Commenting the lithographic Homage especially during conscious control took the Goya, in which the caption to the first plate (Fig. 20) started into Parsifal I, whereas upper wrote: . . . to Druidess and above all II. with "In my dream," Morice "M. Redon's dream hand while giving shape Parsifal

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32 Redon, Druidess, 1891 (1920.1697), presented upside down (artwork in the public domain; photograph provided by the Art Institute of Chicago)

the of this we must count not the him Among agents process, only by her gender and what Huysmans called her "crude the the but also what This to artist, materials, and possibly printer, profile." apparent paradox corresponds the inverted the British to mentioned: the chaste and foolish Parsifal anthropologist Alfred Gell proposed call the symmetry already that "the which the index work looks "prototype," is, entity [the of "gentle and suffering," while the Celtic priestess bears This is not to contradict Redon's heroic features. Both Chateaubriand and Sch?re had stressed art] represents visually."120 declaration to and an existence of women Mellerio postulate Dru the active role and high standing of among Gauls.122 idess and Parsifal as to As women a "preliminary concepts" prior their for Redon, he had found in Basque model for to lithographic incarnation, but emphasize that the dynamic the "virile will" that attracted him, the social and sexual Other nucleus as well as the outcome of these are for whom he In this the Druidess and images figures, longed.123 sense, also, or of the un are can to two presences, quasi-persons. The personification Parsifal complementary and be said represent conscious as a and in Redon's sides of the same coin. "lordly mysterious personage" text testifies to this. Like the Druidess and Parsifal While and Redon was him, creating Parsifal Druidess, exploring to a mediate access to it.We have two of his belong superior realm and aspects personality and negotiating through them for as for are also an that was nor stable but was seen, though, that Redon, Wagner, they identity neither individual connected with the ideal of artist as an individual nourished from collective and oscillated be image the representations and as a function. tween to person social genders. The collective dimension corresponds Redon's is therefore at so this can choice of and as his identity stake, process Wagner's legend myth subject matter, as one equally be described of self-searching and self-repre which Charles Baudelaire had underlined in his 1861 essay sentation. This is the case with an on a must atten clearly Parsifal, image Tannh?user, work that Redon have read closely resembling other artistic projections of Redon (Figs. tively.124The French poet defended this choice with the One of the artist's alter in his "the assertion of an individual brain in 10, 11). egos early writings, that "the history represents thus went the crowd "like a a miniature the of the universal and he on Fakir," through sleepwalker," history brain," gave Parsifal's The matter is more that occasion a of his dualism: description fitting progress.121 striking expression "Every with who shares with Parsifal traits such as well-formed brain carries within itself two heaven complex Druidess, infinites, to and and in of one of these infinites it the bond with nature and the prophetic giftbut is opposed hell, every image

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34 H. C. Forst, in Le Rire, December 33 Oskar Pfister, schematic after Leonardo da Vinci, Metempsychosis, published drawing 1896 in The and Anne 5, (artwork the public domain; photograph by Jack Virgin Child with Saint and Saint John the Baptist, Abraham, provided by the Jane Voorhees Zimmerli Art from "Kryptolalie, Kryptographie," Jahrbuch fur psychoanalytische Museum, Rutgers, The State University of New Jersey, New und psychopathologische Forschungen Brunswick)

half of Baudelaire's remark on but a further elements from recognizes suddenly itself."125 step integrating the preceding the "individual" and the "universal" brain refers to the bio as if Redon had like an ones, been, Wagner, searching for law?later the German naturalist of the genetic popularized by expression Menschliches, the properly human, neither Ernst to which masculine nor feminine. These can Haeckel?according "ontogenesis recapitu steps be described by lates who had been fascinated from means phylogenesis"; Redon, of the thesis-antithesis-synthesis formula associated his youth by transformism and evolutionism, also fell under with Georg Wilhelm Friedrich Hegel, which had been devel its With such as a back spell.126 philosophical conceptions oped by Immanuel Kant and Johann Gottlieb Fichte and had he have connected the of art ground, may process metamorpho already impacted French before 1860, with Gustave Cour sis to the notion of which he knew from his bet's ? re metempsychosis, peintures syst?me (system paintings).129 Having with Indian texts claimed for the visual arts ambitions to those of long familiarity and which Wagner had comparable introduced in of who is literature and Redon could well have been aware Parsifal by way Kundry, hailed by philosophy, as a reincarnation of Herodias and a certain Gun of the virtues of this In his Klingsor dialectical tool.130 operas, Wagner We have seen that the and Brit had realized a of various and in as dryggia.127 Basque country synthesis myths, Parsifal, made Redon feel as if he had lived there and Claude L?vi-Strauss he tany already, pointed out, defined the Grail king that the "doctrine of the as saw dom as two Druids," exposed by Sch?re, and Klingsor's domain simultaneous and diamet the as of human realm that the "transmigration of souls."128 rically opposed aspects.131 Sch?re concluded his 1891 essay was a in the the Metempsychosis popular concept Symbolist era, by evoking "harmonious synthesis of Ancient science and and a cartoon of 1896 shows that a caricaturist could Christian that the (Fig. 34) spirituality," insisting victory of Christianity see it as an of the of had not a equivalent reinterpretation graphic represented the destruction but rejuvenation of the essential to his trade and to Redon's art. Druidic The notion of was also in shapes religion.132 synthesis topical We have somewhat II and its Redon's artistic circle around since Paul and neglected Parsifal position 1890, Gauguin within the of Its of the hero Emile Bernard were it to define a new "ism" process metamorphosis. image using particularly looks more "feminine" than in Par to his own of softer, gentler?in short, relevant critique Impressionism. I. To that extent as well as for its and of this is sifal compositional The point comparison not, however, that Redon formal it does not a return to a statu ante have clarity, represent quo may had the thesis-antithesis-synthesis formula in mind

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on I Parsifal is closer to notion of as a con while working Parsifal and Druidess. It is that the process Beuys's "wandering" unfolded in a to this tinuous and evolution. It have been analyzing way analogous self-opposition never-ending may have been noted that in this I made an model, by creating categories (here figures) mutually op essay repeatedly use to on earlier posed and dependent, and by going beyond them without "anachronistic" of later developments bear or such a model ones. One for this is the refuting annihilating them. Hegel adopted justification idea, expressed shortly relations between and before his death Maurice that the when discussing the being, nothing, by Merleau-Ponty, recep art and that "it is the becoming in his Science ofLogic}2,2, Becoming (Werden), he tion of works of unfolds their potential in wrote, means both coming into being (Entstehen) and passing work itself that has opened the field fromwhich it appears over (Vergehen), and it consists of both being and nothing, another light, it is the work that metamorphoses itselfand a each of which includes the other as necessary reference. becomes what follows, and the interminable reinterpretations to Becoming "is the passing over of being into nothing, and of which it is legitimatelyopen change it only into itself."138 or not ex nothing into being"; it "contradicts itself,because it unites Another is that Freud Jung did invent their theories and it can be defined as "an unstable but in an towhich artists what is contradictory"; nihilo participated ongoing debate, restlessness that sinks down into a motionless result."134 This like Redon, with their own means, have contributed as well. to the anal The notion of art as is familiar to students of transformation?or metamorphosis, emphasize process our art and to all twentieth- and ogy with object?was expressed by Hegel with the verb twentieth-century twenty-first to students of art. But this does not breed aufheben (to sub?ate), which he found relevant enough century familiarity a note to it. him was and the role of the late nineteenth in its devote terminological What intrigued knowledge, century as advent still needs to be assessed. Other artists of the that aufheben,which he defined dramatically "one of the major most of in the who to the one dem important concepts philosophy," possesses period developed practices comparable common two that of who worked in language opposite meanings, preserving onstrated by Redon include Edgar Degas, something and that of putting an end to something. He layers and occasionally changed the direction of his supports, two has and who resorted to casts and of proposed to reconcile the by observing that what Auguste Rodin, photographs a to his own statues to new Historians of Ro been put an end to is still result of what used be and is produce works.139 wonder at the "double din's Balzac have been able to summarize their reconstruc determined by it.135 Hegel's meaning" of can remind us of of Freud's "blind tion of its into a veritable and aufheben Jung's critique complex genesis family tree, of to over is ness" to the fundamental ambivalence of the expressions Degas's preference process product wonderfully in an Ambroise As the the unconscious. But Freud himself, in fact, had been fasci expressed anecdote told by Vollard.140 an dealer seemed to find a small which he nated by essay written in 1884 by the linguist Karl Abel, disappointed dancer, to which the most ancient were devoid to cast in bronze after its twentieth transforma according languages hoped finally wax of the principle of contradiction and contained words with tion, turned back to the state of ball, the artist told him: two words elements with 'You think above all of what itwas but had opposed meanings, combining op worth, Vollard, you and reversals in the order of me a hat full of itwould not have me posed meanings, phonemes.136 given diamonds, given saw this absence of the of contradiction as same I had this for the sake of Freud principle the pleasure in demolishing a believed it distinctive trait of primitive thinking and that starting again."141 archaic nature of ex This shows that at stake is an extension of the model confirmed the "regressive, thought story in on the found it "encour of and from one work or of pressed dreams." Hegel, contrary, process metamorphosis group to find in the words works to the artist's oeuvre as a whole. notions have aging for speculative thought language Many that a in themselves" and been to conceive of this for possess speculative meaning go proposed extension, instance, the "sensible believe that the the Surrealists from various ear beyond either/or."1371 Druidess/ combinatorics, developed by rather than an lier Alfred Gell made another of Parsifal/Druidess metamorphosis, representing sources.142 proposal special a interest in relation to the methods of instance of "regressive" visual "thinking," similarly possesses working Redon, Degas, An of the common of and Rodin: he the artist's oeuvre as a "dis self-reflexive quality. example usage suggested seeing is tributed in and time and aufhebenoften cited to illuminate Hegel's idea isjam, which object" dispersed space resulting the fruit is in that termi from a Individ aufgehoben because aufgehoben it, is, "career-long generate-and-test sequence."143 in a different form. Redon's ual works are or in this "cumulative of nated and yet preserved ap stages stops process to connected or proach to images confronted him with the problem posed discovery," mutually by protentions (prospective or Hegel by "becoming." The technique of lithography, by pre future-oriented relations) and retentions (retrospective in of stone These terms derive from the serving images the "memory" the while replacing past-oriented ones). philosophy new that turn out to them of time of Edmund who wrote that "each retention them with images may perpetuate Husserl, a to is a continuous which is to in modified form, provided him with tool comparable intrinsically modification, say This carries the of its in itself?a remark that could the word aufheben for the philosopher. may have been heritage past one the reasons attached to this me for Druidess and II as "retentions" of why Redon became suit, example, Parsifal (in dium and made it such an of his oeuvre. various of I important part ways) both Druidess and Parsifal I144 Gell himself sketched an application of his model to the work of Marcel while to a Extensions Duchamp, recognizing that his claim universal Redon's praxis of process differs from Hegel's theory of value could be diminished by the historical proximity be in that it does not?or tween becoming does only temporarily? Duchamp's intellectual milieu and the "[William] lead on to a result." II can be seen of flux or the "motionless While Parsifal James-Bergson-Husserl conception temporal as a the oscillation the Druidess and 'stream of This to "synthesis," between consciousness.'"145 objection universality

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need not detain us on the is a ensured the transmission to of a small here; contrary, Duchamp posterity but precious of the direct link between prime example twentieth-century mystery. notions of the oeuvre as and process late-nineteenth-century philosophical and artistic developments.146 It takes but one more to conceive of the whole world Dario who at the step Gamboni, previously taught University ofLyon of art, or artifacts, as one endless and this Case Western Reserve and the Am images process, II, University, University of has been made with notions as diverse as step "appropria sterdam, has been professor of art history at the University of and Dario Robleto tion," "intericonicity," "sampling." (b. Geneva since 2004. He has published numerous books and arti a artist from theUnited States who the on nineteenth- and art 1972), young employs cles, mainly twentieth-century [D?parte last in the sense made the disc expression popular by jockeys' ment d'histoire de Tart, Universit? de Gen?ve, CH-1211 Geneva of sounds and musical created a recycling fragments, recently 4, Switz., [email protected]]. work entitled Men Are theNew Women (2002, collection of Linda Pace, San Antonio), consisting of a male rib molded from the of a female rib. The Notes powder pulverized explicitness of this reversal and sexual the delib gender metamorphosis, First versions of this essay were presented orally before the Institut National on as a erate of the could be re Genevois September 14, 2005, and contribution to the 2005 annual aspect procedure hardly further conference of the Swiss Association of Art Historians "Inversions et transgres moved from Redon. But the older artist have also : might sions 'Inversions' de genre dans les pratiques artistiques" in Lausanne; I thank Pierre Vaisse and Daniela Mondini for the invitations. thought of the biblical account of a genetic relationship My interpreta tion owes information and to the between man and which the transformation of Dru important suggestions following colleagues: woman, von Mayte Garcia-Julliard, Ted Gott, Antje Graevenitz, Christophe Imperiali, idess I into I Paul Fred Parsifal already turned upside down, and it is Lang, Leeman, and Rainer Michael Mason. A special debt is due to Druick, Peter and the staff of the of Prints and notable that in Robleto's work, too, the substance of the first Douglas Zegers, Department Drawings of the Art Institute of Chicago, particularly Suzanne Folds McCul element should be and at aufgehoben?annihilated preserved lagh, Harriet Stratis, Kristi Dahm, and Karin Patzke, who realized the enlarge ments the same time?in the new one. and the composite image of details of Parsifal and Druidess reproduced in the article: itwas a rare treat to be able to involve all of them in the detailed Another symptom of the under increasingly processual discussion of my argument in front of Redon's prints in September 2006.1 am same also to standing of cultural production, which aims at the time grateful the Ryerson and Burnham Libraries of the Art Institute of for access to the Andr? Mellerio text has bene at a tool for its is the to Chicago Papers. Finally, my being analysis, approach literature fited fromMarc Gotlieb's encouragements and from the insightful remarks of called which shifts the two critiqueg?n?tique (genetic criticism), the anonymous reviewers of the manuscript. All translations are mine, unless otherwise indicated. object of interpretation from the "final" text, known from authorized to the in 1. editions, writing process documented Jules Destr?e, L'oeuvre lithographique de Odilon Redon, catalogue descriptif (Brussels: Edmond Deman, 1891), 72. See Adrienne Fontainas and such forms of avant-texte as writers' notes, sketches, drafts, Luc Fontainas, Edmond Deman ?diteur (1857-1918): Art et ?dition au and Since manuscripts, typescripts, proofs, correspondence.147 tournant du si?cle (Brussels: Labor, 1997), 138-41. its art has attention to beginnings, history given "avant-im 2. Odilon Redon, Lettres d'Odilon Redon 1878-1916 (Paris: Librairie Na as tionale d'Art et d'Histoire; Brussels: G. van Oest, 1923), 32. ages" such notes, sketches, maquettes, studies, and models, an but the distinction between 3. See interpretation of this relationship in Dario Gamboni, La plume "public" works and what precedes et lepinceau: Odilon Redon et la litt?rature (Paris: Minuit, 1989), 129. them tends to be a more complex and shifting affair.148 4. Joris-Karl Huysmans to Odilon Redon, October 11, 1891, in Roseline because of the come closest to Prints, editioning process, Bacou, ed., Lettres de Gauguin, Gide, Huysmans, Jammes, Mallarm?, Ver . . literature in this which enables us to haeren . ? Odilon Redon (Paris: Corti, 1960), 125: "Ah !mais elles regard, conclude by sont du si et douce et dolente avec sa towhat extent Redon intended the to become parfait Redon, l'une, ?trange asking public fl?che, l'autre si terriblement bestiale avec son profil fruste, son oeil aware of the verni." had dated his letter to Druidess/Parsifal metamorphosis. Huysmans simply "Sunday morning," which Redon added "October 11, 1891." Druidess and Parsifal II were published and thus made Andr? but as individual and the 5. Mellerio, Odilon Redon (1913; reprint, New York: Da Capo public, prints, recognition of their nos. Press, 1968), 110, 116-18. Further references to this catalog will was left to the to relationship spectators' perceptiveness. They be "M," followed by the catalog number. A proof of Druidess in a could find clues in the formal echoes between the two litho scribed with manuscript dedication to Huysmans and belonging to the collection of Dr. Frederick Mulder in London is reproduced in in the semantic associations of their and in a graphs, titles, Ted Gott, The Enchanted Stone: The Graphic Worlds ofOdilon Redon, exh. sense of the oeuvre cat., National of Victoria, no. 52. "intericonicity" formed by Redon's and, Gallery Melbourne, 1990, 110, 6. Suzanne Folds and Christine "A New 'Parsi within it, by the category of the Pi?ces modernes. This may McCullagh Inge Swenson, fal' Odilon Redon," Print Collector's 7, no. 3 a by Quarterly (October sound like great deal from one's viewers, but asking Huys 1976): 108-9. According toMellerio, fifty copies of Parsifal (M 116) mans's comment shows that he was on and Druidess each were on chine early the right track, (M 117) printed by Becquet applique and the stones were the were uneven for and Redon had attentive and canceled; copies Parsifal, very imaginative beholders. good for Druidess. McCullagh and Swenson knew of two proofs of the on the other it traces Parsifal I, hand, and within the (faint) first version of Parsifal: one in the collection of the Hirshhorn Mu seum of Druidess remained unseen? and Sculpture Garden, Washington, D.C. (66.4197), to which it I, unpublished and probably had been in 1966 H. Hirshhorn; the other, donated the Redon's neither did given by Joseph except by printer?during lifetime; to the Art Institute of Chicago by Robert Light (1975.493), had been at the artist mention its existence to Mellerio, who did not purchased by him the June 11, 1975, auction of Kornfeld and Klip stein in Bern (lot 838; R. M. e-mail to the author, 4, include a reference to it in his 1913 However, Redon Light, January catalog. 2007). This second proof came from the collection of the Swiss Rich at least three of after his kept proofs it, which, death, duly ard B?hler by way of his daughter-in-law Hanne B?hler (Eberhard W. Kornfeld, letter to the author, 9, 2007); Redon's widow, Ca found theirway into the hands of his collectors. By 1891, Jules January mille Redon, had sent to Richard B?hler in 1918 a series of litho Destr?e had demonstrated to Redon how meticulous already graphs, including the last proof of Parsifal in her possession (Camille Redon toMrs. B?hler, 18, A third his admirers could be, and his commercial strategy shows that January 1918, private collection). once mistaken for a charcoal (Odilon Redon he knew the value attached to the rare In impression, drawing they impression.149 1840-1916, exh. cat., Galerie des Beaux-Arts, Bordeaux, 1985, 92, no. short, by preserving the trial proofs of Parsifal I, Redon 41 ), has reappeared since in another private collection; itwas ac

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im von und quired from Camille Redon in 1919 by the Swiss art historian Hans R. Weibliche Menschlichen [AlsAbschluss 'Religion Kunst']," Hahnloser, son of the collector Arthur Hahnloser (Margit Hahnloser in R. Wagner, Dichtungen und Schriften,ed. Dieter Borch-meyer, vol. 10 one Ingold, telephone call to the author, January 8, 2007). It had been [Frankfurt: Insel, 1983], 172-74), and he left unfinished another cropped on all sides except the left one, probably by Redon himself, entitled "On the Masculine and the Feminine in Culture and Art." and iswell in Richard visions d'artistes: reproduced Wagner, DAuguste 35. Druidess, W 609. See also W 627 and W 167, which, however, is enti Renoir ? Anselm exh. cat., Mus?es d'Art et d'Histoire, Geneva Kiefer, tled Woman of theEast in Druick et al., Odilon Redon: Prince ofDreams, (Paris: 2005), 109. See also Gott, The Enchanted Stone, 96. Somogy, 203, fig. 10 (cropped). 7. Redon to Edmond Picard, 25, 1894, inMellerio, August quoted 36. See ibid., 62, 328ff. see Odilon Redon, 80; for biographical information, Douglas W. Druick 37. W 266; ibid., cat. no. 71. et al., Odilon Redon: Prince ofDreams, 1840-1916, exh. cat., Art Insti tute of Chicago (New York: Harry N. Abrams, 1994), 34ff. 38. W 239; ibid., cat. no. 82. . . . 8. See Bacou, Lettres ? Odilon Redon, 88-89; Odilon Redon, A soi 39. See Bacou, Lettres . . . ? Odilon Redon, 149-59. m?me: Notes sur la l'art et les artistes fournal (1867-1915); vie, (1922; new 40. Edmond Picard, Le jur?: Monodrame en cinq actes (1887; ed., Brus Paris: Corti, 1961), 177 (1878). sels: Paul Lacomblez and Vve Ferd. Larcier, 1904), act 4, 59: "Elle se 9. ? 156 Redon, soi-m?me, (November 1882). montre ? lui, dramatique et grandiose, avec sa coiffure de pr?tresse de sa vie factice, luxueuse 10. Andr? Mellerio Papers (henceforward, AMP), Ryerson and Burnham druidique, th??trale, imposante, impr?gn?e et mais sans rien soit de la maternit?." Libraries, Art Institute of Chicago, A-l, 7. bruyante, qui 41. et avec sa de . . . W, 11. Teodor de Wyzewa, "Notes sur la peinture wagn?rienne et le Salon de Dramatique grandiose figure pr?tresse druidique 238, Mellerio 80. 1886," Revue Wagn?rienne 2 (May 8, 1886): 100-113, at 106. . . . et avec 12. Gott, The Enchanted Stone, 97, no. 41. 42. Bacou, Lettres ? Odilon Redon, 156: "Dramatique grandiose, sa coiffure de pr?tresse druidique. ..." 13. Mellerio 130; see Gott, The Enchanted Stone, 97-98, no. 42; and Alec 43. Druick et Odilon Redon: Prince 40. Wildenstein, Odilon Redon: Catalogue raisonn? de l'oeuvrepeint et dessin?, al., ofDreams, 4 vols. Wildenstein Institute, vol. 2, no. 1043 (fur (Paris: 1992-98), 44. Odilon Redon, "Un s?jour dans le Pays Basque" (ca. 1869), AMP, A-5, ther references to this will take the form ofW followed the me catalog by 2: "Le sol basque est pour moi comme une patrie ancienne o? il catalog number). semble avoir v?cu, souffert, aim?"; and Claire Moran, Odilon Redon: Modem Humanities Research 14. See Gamboni, La plume et lepinceau, 26-30, 92-95, 146-50. ?crits (London: Association, 2005), 29; see Druick et Odilon Redon: Prince 41-42. 15. W 626. al., ofDreams, 45. Ernest Renan, Souvenirs et de (Paris: Calmann 16. See Redon, A soi-m?me,27, 128. d'enfance jeunesse L?vy, 1883), 75, 78, 83. See Roseline Bacou, "La biblioth?que d'Odilon Re 17. AMP, "Mellerio-Redon 49. Chronology," don," in Festschrift toErik Fischer: European Drawings from Six Centuries Museum of Fine at 36. 18. See Druick et al., Odilon Redon: Prince ofDreams, 41. (Copenhagen: Royal Arts, 1990), 29-37, 19. See ibid., 21ff. 46. Edouard Sch?re, "Les l?gendes de la Bretagne et le g?nie celtique," Revue des Deux Mondes 106 (August 15, 1891): 865-902, at 895. 20. See Richard Wagner, Parsifal: Dichtung, Entwurf, Schriften (1914; Wal La ?tude sur le de l'?me luf: Sandig, 1973). 47. Edouard Sch?re, druidesse, pr?c?d?e d'une r?veil celtique (Paris: Perrin, 1914), 11. 21. See, for example, Paul Lindau, Bayreuther Briefe vom reinen Thoren: "Par sifal" von Richard Wagner (Breslau: Schottlaender, 1883), 11-12. 48. Bacou, "La biblioth?que d'Odilon Redon," 32. un ou 22. See Jean-Fran?ois Candoni, "'Le dieu Richard Wagner irradiant 49. Fran?ois-Ren? de Chateaubriand, Les martyrs, Le triomphede la reli sacre': ? propos de la religion de l'art dans Parsifal," in "Parsifal," ed. gion chr?tienne (1809; Paris: Garnier, n.d.), 153-75 (bks. 9-10). Christian Merlin, issue, L'Avant-sc?ne Op?ra 213 (March-April special 50. Edouard Sch?re, Vercing?torix:Drame en cinq actes (Paris: Alphonse Le 2003): 123-27; and Richard und Kunst" (1880), in Wagner, "Religion merre, 1887), iv. S?mtliche Schriften und Dichtungen, 16 vols. (Leipzig: Breitkopf und H?r 51. La Sch?re referred here to Celtil and tel, 1911-14), vol. 10, 211-52. Sch?re, druidesse, 20; (again) Vell?da, the main characters of La druidesse (1914), an adaptation of 23. See Gamboni, La plume et lepinceau, 19-30, 134-37; and Druick et al., his own Vercing?torix that enabled him to better reconcile Druidism Odilon Redon: Prince ofDreams, 23-24, 71-72, 89-93. and Christianity by setting it in the first century. 24. See Dario Gamboni, Das Pass Amontillado: Der Traum eines Traumes 52. This is a major point for Sch?re, who found it in Adolphe Pictet, Le (Frankfurt: Fischer, 1988). myst?redes bardes de l'?le de Bretagne (Geneva: Cherbuliez, 1856). 25. See Parsifal 1882-1982: Une documentation illustr?eautour du centenaire 53. Sch?re, Vercing?torix, 77-78: "Le Feu, le Feu s'?teint!?Il n'est plus sur de la cr?ation de l'oeuvre de Richard Wagner (Geneva: Grand Th??tre de . . l'autel, / Il me br?le le c ur!?La lumi?re du ciel / S'enfuit .j'ai Gen?ve, 1982); and Merlin, "Parsifal," 144-59. vu l'ab?me! Horreur, n?ant, t?n?bres / Et tr?pas!" 26. See entry for thiswork in Richard Jean-David Jumeau-Lafond's Wagner, 54. Merlin, "Parsifal," 63, line 307: "Amfortas!? / Die Wunde!?Die visions d'artistes, 152, no. 37; and Love Revealed: Simeon Solomon and the Wunde!? / Sie brennt inmeinem Herzen.? / O, Klage! Klage! / Pre-Raphaelites, exh. cat., Birmingham Museum and Art Gallery, 2006. Furchtbare Klage! / Aus tiefstem Herzen schreit sie mir auf." Another interesting element of comparison is Jean Delville's androgy 55. Edouard Le drame vol. La et la dans nous and mystical charcoal drawing Parsifal (1890, private collection), Schur?, musical, 1, musique po?sie leur and vol. Richard son oeuvre et son reproduced, for instance, in Richard Wagner, visions d'artistes, 127, no. d?veloppement historique, 2, Wagner, 23. id?e (Paris: Sandoz et Fischbacher, 1875); Le drame musical, nouvelle ?dition augment?e d'une ?tude sur Parsifal (Paris: Perrin, 1886). 27. See Rainer Michael Mason's entry in Richard Wagner, visions d'artistes, 220-22, no. 71. 56. Edouard Schur?, Les grands initi?s:Esquisse de l'histoire secr?tedes reli gions; Rama?Krishna?Herm?s?Mo?se?Orph?e?Pythagore?Platon? 28. Hans J?rgen Syberberg, Parsifal: Ein Filmessay (Munich: Wilhelm J?sus (Paris: Perrin, 1889); and Bacou, "La biblioth?que d'Odilon Re Heyne, 1982), 69. don," 33. 29. "Par la faute d'une Le Jacques Longchampt, chim?re," Monde, May 20, . . . 57. Edouard Schur? to Redon, February 25, 1892, in Bacou, Lettres ? 1982, reprinted inMerlin, "Parsifal," 187. Odilon Redon, 244; Bacou quotes a very positive, undated note written 30. 161. Syberberg, Parsifal, by Redon after a discussion with Schur?: "Very musical, he reminds 31. Ibid., 35. me of Boiss? [a friend from Redon's youth]. Youthful soul in an age less body [Schur? was born in 1841, Redon in 1840]?and much reli 32. Cosima Wagner, fournal, ed. Martin Gregor-Dellin, vol. 3 (Paris: Galli giosity. He is charming." mard, 1979), 592-93. A few years earlier, in 1877, Wagner was already 58. This on a thinking of using "a mixture of voices" to "express the immaterial copy of Vercing?torix, which Schur? had marked with red two scenes spirituality of Christ... ; itmust be neither a woman, nor a man, but pencil the selected for the Th??tre d'Art, is not mentioned a neutral element in the highest sense of the word" (ibid., entry of in Roseline Bacou's description of Redon's library ("La biblioth?que September 26, 1877). d'Odilon Redon"). 33. See Merlin, "Parsifal," esp. 17-19, 40. 59. A detail from what appears to be the program of the play, including a of Druidess, is without or source in 34. Jean-Jacques Nattiez, Wagner androgyne (Paris: Christian Bourgois, reproduction reproduced caption Marcel Guicheteau, Paul S?rusier (Paris: SIDE, 1976), 83; see Gott, The 1990), 197. The question of the male-female relationship kept preoc Enchanted Stone, 111. cupying Wagner after Parsifal: shortly before his death in 1883, he wrote the essay "On the Feminine within the Human" ("?ber das 60. Gott, The Enchanted Stone, 111.

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61. See ibid., 98; and Fred Leeman, "Redon's Spiritualism and the Rise of 80. "Joseph Beuys im Gespr?ch mit Antje Graevenitz: 'ImWanderer steckt Mysticism," in Druick et al., Odilon Redon: Prince ofDreams, 215-36, at stets ein neuer Mensch,'" in Der Raum Bayreuth: Ein Auftrag aus der 227-30. Buddhism, especially its ideal of renunciation, was also impor Zukunft, ed. Wolfgang Storch (Frankfurt: Suhrkamp, 2002), 199-208, tant forWagner's conception of Parsifal, which used material from an at 203; the interview had taken place in the fall of 1982 in Beuys's earlier, unrealized project of a "Buddhist" opera entitled The Conquer studio in D?sseldorf (Graevenitz, e-mail to the author, August 16, ors; see Merlin, "Parsifal," 6, 105, 111. 2006). See also Antje von Graevenitz, "Erl?sungskunst oder Befreiung spolitik: Wagner und Beuys," in Unsere Wagner: Joseph Beuys, Heiner 62. Merlin, "Parsifal," 101, 109; and Sch?re, "Les l?gendes de la Bre M?ller, Karlheinz Stockhausen, Hans J?rgen Syberberg;Essays, ed. Gabriele tagne," 875-76. F?rg (Frankfurt: Fischer, 1984). 63. See, for example, Emile Hennequin, "Le pessimisme des ?crivains," in 81. "Joseph Beuys im Gespr?ch mit Antje Graevenitz," 208. La Revue Ind?pendante, 2 vols. (Geneva: Slatkine Reprints, 1970-71), vol. 1, 445-55 (October 1884), vol. 2, 61-78 (November 1884). In 82. For a detailed analysis of Redon's working methods in lithography, see Schur?'s "Les l?gendes de la Bretagne," Merlin is told that as a Gott, The Enchanted Stone, 27-36. he will be humans and and that prophet, persecuted by demons, 83. See Matthias Schatz, Der Betrachter imWerk von Odilon Redon: Eine rezep while he can the and the "divine of as a expect highest joys ray light" tions?sthetischeStudie (Hamburg: Kr?mer, 1988), 48. reward, "insanity, shame and solitude" will also watch out for him 84. Gott, The Enchanted Stone, 33, 36. (882). 85. Redon, ? soi-m?me, 129 (1913). 64. Sch?re, Vercing?torix, 17. 86. Pat Gilmour, "Lithographie Collaboration: The Head, the Hand, the 65. See, for example, El?mire Zoila, The Androgyne: Fusion of theSexes Heart," in Lasting Impressions: Lithography as Art, exh. cat., Australian (London: Thames and Hudson, 1981). A late-tenth- or early-eleventh National Gallery, Canberra, 1998, 308-59, 378-81, at 322; see Gott, century statue of this kind, from the Djenn? region inMali, was re The Enchanted Stone, 42-44. cently acquired by the French state for the Mus?e du Quai Branly, 87. For evidence of Redon's interest in visual see Poten Paris; reproduced in H?l?ne Leloup, Statuaire dogon (Strasbourg: puzzles, Gamboni, tial 153-54. Amez, 1994). Traditional shutter fasteners inVenice display a male Images, a one head when the shutter is open and female when it is closed, 88. Gert Mattenklott, "Zum sozialen Inhalt von Redons 'monde obscur de the three-dimensional in such a that the figure being designed way l'ind?termin?,'" in Selbstgespr?ch: Tageb?cher und Aufzeichnungen 1867 male's bust becomes the female's hair and vice versa. 1915, by Odilon Redon (Munich: Rogner und Bernhard, 1971), 207 and Harriet K. "Beneath the Surface: Redon's Methods 66. See Thomas Eser, SchiefeBilder: Die Zimmernsche Anamorphose und andere 19; Stratis, and in Druick et Odilon Redon: Prince 353-77. Augenspiele aus den Sammlungen des Germanischen Nationalmuseums, exh. Materials," al., ofDreams, von cat., Germanisches Nationalmuseum, Nuremberg, 1998; Bodo 89. See Benedetto Croce, "Una teor?a della 'macchia'" (1905), in Problemi was Dewitz and Werner Nekes, Ich sehewas, Du nicht siehst!Sehmaschinen di est?tica e contribua alla storia dell'est?tica italiana (1909; Bari: Laterza, und Die Werner exh. Museum Lud Bilderwelten; Sammlung Nekes, cat., 1923), 238-48; Hans Sedlmayr, "Bruegel's Macchia" (1934), trans. and Dario "Com wig, Cologne (G?ttingen: Steidl, 2002); Gamboni, Frederic J. Schwartz, in The Vienna School Reader: Politics and Art Histori the Politic: and Political posing Body Composite Images Representa calMethod in the 1930s, ed. Christopher S. Wood (New York: Zone tion, 1651-2004," inMaking Things Public?Atmospheres ofDemocracy, Books, 2000), 323-76; Heinrich Schmidt, "Leonardos Macchia," ed. Bruno Latour and Peter exh. ZKM-Center for Art Weibel, cat., Zeitschriftf?r ?sthetik und allgemeine Kuntwissenschaft 12 (1967): 70-89, and Karlsruhe Mass.: MIT Media, (Cambridge, Press, 2005), 162-95. no. 1; and Jean-Claude Lebensztejn, L'art de la tache: Introduction ? la nouvelle m?thode dAlexander Cozens (Paris: Limon, 67. See Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsky 1990). (Cambridge, Mass.: MIT Press, 1968). 90. See Gustave Moreau 1826-1898, exh. cat., Galeries Nationales du Grand Paris R?union des Mus?es for 68. See Fr?d?ric Tristan, Le monde ? l'envers (Paris: Hachette, 1980). Palais, (Paris: Nationaux, 1998), example, 159, cat. nos. 72, 73; and Raphael Rosenberg, "Hasard et 69. See Dario Gamboni, Potential Images: Ambiguity and Indeterminacy in abstraction: Les palettes d'aquarelle de Gustave Moreau," in Gustave Modern Art (London: Reaktion Books, 2002), 68-130, 149-67. Moreau: Mythes et chim?res;Aquarelles et dessins secretsdu mus?e Gustave no. 70. Georges Hugnet, "Devinettes," Minotaureb, 11 (1938): 34-35. Moreau, exh. cat., Mus?e de la Vie Romantique, Paris (Paris: R?union des Mus?es Nationaux, 2003), 93-107. 71. This image and two others from the same series are reproduced in Redstone Matchbox No. 1 (London: Redstone Press; San Francisco: 91. John Ruskin, The Elements ofDrawing: In Three Letters toBeginners, with Chronicle Books, 1998); similar double heads can be found in Julian Illustrations Drawn by theAuthor (London: Smit, Elder, 1857), note to sec. see A Rothenstein and Mel Gooding, The Playful Eye (London: Redstone 5; and Richard Shiff, C?zanne and theEnd of Impressionism: Press, 1999). Study of theTheory, Technique, and Critical Evaluation ofModern Art (Chi cago: University of Chicago Press, 1984). 72. A late but particularly lucid exposition isJos?phin P?ladan, De ? m?thode de L?onard de Vinci Galli l'androgyne: Th?orie plastique (Paris: Sansot, 1910). Itmust be added 92. Paul Val?ry, Introduction la (Paris: that there was no necessary contradiction between "monstrous" and mard, 1957), 25, 33, previously published in La Nouvelle Revue 95 (Au "ideal" in this context: see Evangh?lia Stead, Le monstre, le singe et le gust 15, 1895): 742-70. et d?cadence dans Droz, foetus: T?ratogonie l'Europefin-de-si?cle (Geneva: 93. Redon, ? soi-m?me, 100: "Le sens du myst?re, c'est d'?tre tout le temps 2004). dans l'?quivoque, dans les double, triple aspects, des soup?ons dans formes vont ou le seront 73. See, for example, works by Armand Point and Alexandre S?on, in d'aspect (images images), qui ?tre, qui selon l'?tat du Jean-David Jumeau-Lafond, Les peintres de l'?me: Le symbolisme id?aliste d'esprit regardeur." en exh. Mus?e Brussels France, cat., d'Ixelles, (Antwerp: Pandora, 94. Alfred Jarry, "Commentaire pour servir ? l'intelligence de la pr?c? 168-76. 1999), 120-35, dente image," Perhind?rion 2 (June 1896), in Oeuvres compl?tes,vol. 1, ed. Michel Arriv? 998-99. See Dario Gam 74. See Gamboni, La plume et lepinceau, 193-94; Gott, The Enchanted Stone, (Paris: Gallimard, 1972), "D?rer als Eine Bildlekt?re von Alfred in 98-106; and Leeman, "Redon's Spiritualism," 215-36. Among persons boni, Pataphysiker: Jarry," vom connected to both Redon and P?ladan were Emile Bernard, El?mir Jenseits der Grenzen: Franz?sische und deutscheKunst Anden R?gime bis zur Thomas W. zum 60. vol. 3, der Bourges, and Antoine de la Rochefoucauld. Gegenwart; Gaehtgens Geburtstag, Dialog Avantgarden, ed. Uwe Fleckner, Martin Schieder, and Michael F. Zim 75. Gamboni, La plume et lepinceau, 303. mermann (Cologne: DuMont, 2000), 29-41. 76. Jos?phin P?ladan, La d?cadence latine: ?thop?e (1891; reprint, Geneva: 95. When he sold this small painting to Andries Bonger in 1898, Redon Slatkine, 1979), vol. 4, Coeur en peine; L'androgyne, vii-xi, xvii. described it as "the small head of a woman standing out in profile to in Lettres d'Odilon sur 77. Redon Andr? Mellerio, August 16, 1898, Redon, against a red sky [la petite t?tede femme se profilant ciel rouge]," and Redon, 33-35. later in answer to a question from his Dutch patron and friend said that it had "no title" Andr? en kunstenaars 78. Redon, ? soi-m?me, 128 (1913). special (see Bonger zijn vrienden Redon?Bernard?Van Gogh, exh. cat., Rijksmuseum, Amster 79. "Parsifal," line 320: "Den den du suchst, / dess' Merlin, 71, Weg, dam, 1972, 16, no. 9). In his list of works sold to dealers and collec Pfade sollst du nicht finden: / denn Pfad' und / die dich mir Wege, tors, he noted it as Head of a Woman and described the figure as entf?hren, / so verw?nsch' ich sie dir: / Irre! Irre!" In a remarkable sun ... on a "pensive, in profile on an orange-colored red vague comment on of the Grail Claude Wagner's interpretation legends, background of [crossed out: "violet"] mountains" (AMP, Mellerio Re L?vi-Strauss that the "contribution to universal suggested composer's don Account Books [MRA], 1, 31). I thank Fred Leeman for giving consisted in Parsifal's of mythology" precisely requirement "knowing me access to his catalog of the Bonger collection (Amsterdam: Van and not that is, what one L?vi-Strauss, knowing, knowing ignores"; Gogh Museum, forthcoming). "De Chr?tien de Troyes ? Richard Wagner," first published in the 96. See Stratis, "Beneath the Surface." program of the 1975 Bayreuth festival, reprinted inMerlin, "Parsifal," 100-107, at 107. 97. The demonstrative effect is even stronger if one shifts, as can be done

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on the computer screen, the degree of coincidence of the superimpo 1899) devoted by its author, Th?odore Flournoy, to the young female sition. I thank Karin Patzke for having suggested and realized this ex medium ?lise Catherine M?ller ("H?l?ne Smith"). Among the several was a periment. personalities she developed male spirit named Leopold, identi as a fied by participants in the s?ances reincarnation of the eigh 98. Ted Gott described this impression as "a proof of a first state of Dru teenth-century occultist Giuseppe Balsamo (Cagliostro). While im idess,before the filling in of the background and additional tonal the way in which "became incarnated" inMiss work on the face and head-dress" (TheEnchanted Stone, 110, no. 52), pressed by Leopold M?ller, Flournoy remarked that the two personalities did not coexist but a new comparison with the other proof in the collection of the but alternated and proposed a rational account of Leopold's "psycho Art Institute of Chicago (Fig. 2) showed only differences ascribable to genesis" in which this "austere and rigid mentor" represents "a very the printing process. general psychological given" present in "every feminine soul of high 99. I am indebted to Rainer Michael Mason and Harriet Stratis on this birth" (75-134). to an isolated Redon fur point. According testimony, "frequently 117. der 628. We have noted a likeness between rowed the so that several millimeters had to be Jung, Symbole Wandlung, granite [sic] deep Redon's Br?nnhilde and his Druidess an (Fig. 7) (Fig. 2). pumiced," unorthodox method that was "a source of annoyance to 118. See Sarah Kofmann, de l'art: Une de the professionals"; Claude Roger-Marx, French Original Engravings from L'enfance interpr?tation l'esth?tique (Paris: Manet to thePresent Time (New York: Hyperion Press, 1939), 31-32, freudienne Payot, 1970). in 379 n. 53. quoted Gilmour, "Lithographic Collaboration," 119. Charles Morice, "L'hommage ? Goya," Petite Tribune R?publicaine, April 2, 1885: "Le r?ve de M. Redon . . . Entendons-nous! 100. I owe this explanation to Harriet Stratis. L'acception qu'il faut donner au mot R?ve n'est ni celle vulgaire et de prose (visions 101. The cropped proof of Parsifal [I] (see n. 6 above) may have resulted fatales du sommeil), ni celle rare et de po?sie (visions volontaires de from an Redon to reduce this tension attempt by by concentrating la veille); c'est ceci et cela, c'est la veille et le sommeil, c'est propre on the image the figure of Parsifal. ment le r?ve d'un r?ve: l'ordonnance volontaire de visions fatales." 102. Redon, Lettres d'Odilon Redon, 33-34. On Redon's approval, see Ted Gott, "Silent Messengers?Odilon Re don's Dedicated Lithographs and the 'Politics' of Gift-Giving," Print 103. See Druick et al., Odilon Redon: Prince ofDreams, 93, 104. Collector'sNewsletter 19, no. 3 (July-August 1988): 92-101, at 95. 104. Eduard von Hartmann, Philosophie des Unbewussten (1869; Berlin: 120. Alfred Gell, Art and An (Oxford: Oxford Duncker, 1874), 239, 252. Agency: Anthropological Theory University Press, 1998), 26. 105. See Dario Gamboni, "Im festen Zustand der suggestiven Betrachtung: 121. Odilon Redon, "Le Fakir," AMP, A-12, 1-33, at 4. See Druick et Odilon Redon und das Schweben als und al., Voraussetzung Metapher Odilon Redon: Prince and Odilon Redon: 91 f?r das k?nstlerische inDie Couch: Vom Denken im ofDreams, 72; Moran, ?crits, Schaffen," Liegen, 114. ed. Lydia Marinelli, exh. cat., Sigmund-Freud-Museum, Vienna (Mu Les nich: Prestel, 2006), 123-42. 122. Chateaubriand, martyrs, 153, 156, 161; Schur?, Vercing?torix, iv; and idem, La druidesse, 10-11, 18, 20, 52-56. 106. Oskar Pfister, "Kryptolalie, Kryptographie und unbewusstes Vexierbild 123. See AMP, A-5 Odilon Redon: B-2, and Druick bei Normalen," fahrbuch f?r psychoanalytische und psychopathologischeFor (Moran, ?crits, 29-46), 4; et al., Odilon Redon: Prince Dreams, 41-42. schungen 5 (1913): 117-56, esp. 129-41. of Charles Oeuvres ed. Claude vol. 2 107. Ibid., 145-51. 124. Baudelaire, compl?tes, Pichois, (Paris: Gallimard, 1976), 792. 108. Sigmund Freud, Un souvenir d'enfance de L?onard de Vinci /Eine Kind 125. Ibid., 793, 795. heitserinnerung des Leonardo da Vinci (1910; Paris: Gallimard, 1991), see 206-7. On the "vulture" problem, Meyer Schapiro, "Freud and 126. See Ernst Haeckel, Anthropogenic, oderEntwicklungsgeschichte desMen Leonardo: An Art Historical Study" (1955/1968); and idem, "Further schen (Leipzig: Engelmann, 1874). On Redon's scientific interests, the Notes on Freud and Leonardo," in Theory and Philosophy ofArt: Style, most recent, book-length study is Barbara Larson, The Dark Side ofNa Artist, and Society; SelectedPapers (New York: George Braziller, 1994), ture: Science, Society, and theFantastic in theWork of Odilon Redon (Uni 153-200. versity Park: Pennsylvania State University Press, 2005). 109. In relation to his notion of "condensation," Freud refers not so much 127. See Redon, ? soi-m?me, 18; and Merlin, "Parsifal," 46, 47, lines 131, 111. The to man-made images as to Francis Galton's famous "composite photo 109, connection between metamorphosis and metempsycho sis was established Ovid in the introduction to graphs"; this notion has antecedents in earlier research on the dream, already by Pythagorian bk. 15 of The see the in Pierre which had been available to the general public in France since the Metamorphoses; entry "M?tamorphose" Grand dictionnaire universel du XIXe si?cle 1860s. See Jack J. Spector, The Aesthetics ofFreud: A Study inPsychoanal Larousse, (1866-79; reprint, Geneva: vol. 136. ysis and Art (New York: Praeger, 1972), 125-27; Stefanie Heraeus, Slatkine, 1982), 11, pt. 1, und Bildidee: Surreale in der Traumvorstellung Strategien franz?sischen 128. Metempsychosis was generally recognized as an essential trait of the des 19. and "Artists Graphik Jahrhunderts (Berlin: Reimer, 1998); idem, Druids' metaphysics: see, for example, Larousse, Grand dictionnaire and the Dream in Paris: Towards a of s.v. Nineteenth-Century Prehistory universel, "Druide," vol. 6, pt. 2, 1301-2, and "M?tempsychose," vol. & 153-68. Surrealism," History Workshop fournal (1999): 11, pt. 1, 145-47. 110. Hermann Methodik und eines Rorschach, Psychodiagnostik: Ergebnisse 129. See Gustav E. Mueller, "The Hegel Legend of 'Thesis-Antithesis-Syn von wahrnehmungsdiagnostischen Experiments (Deutenlassen Zufallsformen) thesis,'" Journal of theHistory of Ideas 19, no. 3 (June 1958): 411-14; (Bern: Huber, 1921). and Henri Dorra, "The 'System' in Courbet's 'System Paintings,'" Ga zette des Beaux-Arts 121 1993): 93-100. Mueller shows that 111. See Henri F. Ellenberger, "The Life and Work of Hermann Ror (February himself feared the automatic and character of a schach (1884-1922)," Bulletin of theMenninger Clinic 18 (1954): 173 Hegel prescribed scheme" to "monotonous formalism" and attributes 219; Lebensztejn, L'art de la tache,Peter Galison, "Image of Self," in "spiritless leading the association of this with to Karl Marx way of Things That Talk: Object Lessons from Art and Science, ed. Lorraine Das "triplicity" Hegel by Heinrich Moritz ton (New York: Zone Books, 2004), 257-94, 414-18; and Gamboni, Chalyb?us. Potential Images, 56-58, 189-90. 130. See Gamboni, La plume et lepinceau, 31-48. 112. See Dario Gamboni, "'Fabrication of Accidents': Factura and Chance 131. L?vi-Strauss, "De Chr?tien de Troyes ? Richard Wagner," 107. in Art," Res: and Aesthetics Nineteenth-Century fournal ofAnthropology 132. Schur?, "Les l?gendes de la Bretagne," 867, 901. (Autumn 1999): 205-25. 133. Georg Wilhelm Friedrich Hegel, Wissenschaft der Logik (1812-16), vol. 113. Carl Gustav Traume, Gedanken von C. G. ed. Jung, Erinnerungen, fung, 1, Die objektiveLogik, in S?mtliche Werke, ed. H. Glockner (Stuttgart: (Zurich: Walter, 24. uses the term Anielajaff? 1971), Jung Klecksogra Frommann; Bad Cannstatt: Holzboog, 1965), vol. 4, 118-21. phien, which goes back to the nineteenth-century Swabian poet and 134. Ibid., 119: "Das Werden ist eine haltungslose Unruhe, die in ein ru physician Justinus Kerner; see his Kleksographien: Hadesbilder kleksogra higes Resultat zusammensinkt. / Dies k?nnte auch so ausgedr?ckt entstanden und in Versen erl?utert,ed. Horst Brandst?tter (Stutt phisch werden: Das Werden ist das Verschwinden von in und written in 1857 and first in 1890. Seyn Nichts, gart: Lithos, 1998), published von ... Nichts in Seyn. Es widerspricht sich also in sich selbst, weil es 114. 157. Jung, Erinnerungen, solches in sich vereint, das sich entgegengesetzt ist. ..." 115. C. G. der des zu einer Jung, Symbole Wandlung: Analyse Vorspiels Schizophre 135. See Hermann Glockner, Hegel-Lexikon, 2nd aug. ed., vol. 23 of Hegel, 4th rev. ed. of und der Libido nie, Wandlungen Symbole (Zurich: Rascher, S?mtliche Werke (Stuttgart: Frommann and Holzboog, 1957), 150; and 373. 1952), Philippe B?ttgen, "Aufheben, Aufhebung," in Vocabulaire europ?en des Dictionnaire des intraduisibles, ed. Barbara Cassin 116. Jung, Erinnerungen, 408-10. A partial antecedent can be found in the philosophies: (Paris: Seuil / Le Robert, 2004), 152-56. psychological monograph Des Indes ? la plan?te Mars: ?tude sur un cas avec de somnambulisme glossolalie (Geneva: Atar; Paris: Fischbacher, 136. Sigmund Freud, "?ber den Gegensinn der Urworte" (1910), in Studi

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enausgabe, vol. 4, Psychologische Schriften (Frankfurt: Fischer, 1970), 227 lait,mais m'auriez-vous donn? un chapeau plein de diamants queje 34. n'aurais pas eu un bonheur ?gal ? celui que j'ai pris ? d?molir ?a pour le plaisir de recommencer." 137. Ibid., 234; and Hegel, Wissenschaft derLogik, 120: "F?r das spekulative es Denken ist erfreulich, in der Sprache W?rter zu finden, welche eine 142. See Hans Holl?nder, "Ars inveniendi et investigandi: Zur surrealisti spekulative Bedeutung an ihnen selbst haben; die deutsche Sprache hat schen Methode," Wallraf-Richanz-fahrbuch 32 (1970): 193-233. mehrere in Glockner, 150. dergleichen"; quoted Hegel-Lexikon, 143. Gell, Art and Agency, 232ff. 138. Maurice L'oeil et (Paris: Gallimard, 1964), 62: Merleau-Ponty, l'esprit 144. Edmund Husserl, Zur Ph?nomenologie des inneren Zeitbewusstseins (1893 "C'est l'oeuvre elle-m?me qui a ouvert le d'o? elle champ appara?t 1917), quoted in ibid., 241, with reference to J. N. Findlay, "Husserl's dans un autre c'est elle se et devient la suite, jour, qui m?tamorphose Analysis of the Time Inner Consciousness," Monist 59, no. 1 (1975): les interminables dont elle est r?interpr?tations l?gitimementsuscepti 3-20. ble ne la changent qu'en elle-m?me. ..." 145. Gell, Art and Agency, 243. 139. See, for example, Richard Thomson, "On Narrative and Metamorpho 146. On debt to Redon see Gamboni, Potential Im sis," in Dealing with Degas: Representation ofWomen and thePolitics of Vi Duchamp's specifically, 142-48. sion, ed. Richard Kendall and Griselda Pollock (New York: Universe, ages, en 1992), 146-58; and Le corps morceaux, exh. cat., Mus?e d'Orsay, 147. See Jed Deppman, Daniel Ferrer, and Michael Groden, eds., Genetic Paris (Paris: R?union des Mus?es Nationaux, 1990), 201-18, 237-51. Criticism: Texts and Avant-Textes (Philadelphia: University of Pennsylva nia Press, 140. 1898: Le Balzac de Rodin, exh. cat., Mus?e Rodin, Paris, 1998, 244-52. 2004). 148. See "Formes," the recent issue of Genesis: Revue Internationale de Cri 141. Ambroise Vollard, Edgar Degas 1834-1917 (Paris: Cr?s, 1924), 112-13, 24 (2004), devoted to the visual arts. quoted inAnne Pingeot, Degas sculptures (Paris: R?union des Mus?es tique G?n?tique Nationaux, 1991), 26: "Vous pensez surtout, Vollard, ? ce que ?a va 149. See Gott, "Silent Messengers," 92-101; and idem, The Enchanted Stone.

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