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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfihn master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing fi-om left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9288159 From Salome and John the Baptist to Orpheus: The severed head and female imagery in the work of Odilon Redon. (Volume I: Text. Volume II: Plates [Not microfilmed as part of dissertation]) Curtis, Leslie Stewart, Ph.D. The Ohio State University, 1992 Copyright ©1992 by Curtis, Leslie Stewart. All rights reserved. UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106 FROM SALOME AND JOHN THE BAPTIST TO ORPHEUS: THE SEVERED HEAD AND FEMALE IMAGERY IN THE WORK OF ODILON REDON VOLUME I DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Leslie Stewart Curtis, B.A., M.A. ***** The Ohio State University 1992 Dissertation Committee: Approved By Mathew Herban III ''IMxiXduiS Judith Mayne Adviser Department of the History of Art Howard Crane Copyright by Leslie Stewart Curtis 1992 ACKNOWLEDGEMENTS I express my appreciation to Dr. Mathew Herban in for his guidance and patience through tiie course of this research. I thank my dissertation committee members, Drs. Howard Crane and Stanley L. Helgeson, for their comments and suggestions. The thoughtful advice of Dr. Judith Mayne has been of great assistance in the preparation of this study. 1 am also very grateful to Dr. Ryan Howard for his words of wisdom and encouragement — it is thanks to him that 1 decided to follow the path of the art historian. Dr. Willard Misfeldt has also continued to provide very helpful advice. This study would not have been possible without the support and understanding of my life partner Susan Sheaffer Curtis. It is to her that 1 owe my sincerest gratitude not only for this support, but also for the inspiration which her model of achievement in professional endeavors has presented to me. Many other people have generously supported my efforts, and 1 am thankful for their friendship. 1 thank Dr. Rex Wallace for his advice, professional opinions, and for the many wonderful hours we passed together on the tennis court. 1 also thank Dr. Maureen Ryan for the many supportive conversations as we went through this process together. Dr. Howard Sirak and Babette Sirak also offered many insights into the joys of the visual arts, and 1 am very grateful for having had the opportunity to work on the catalogue of their wonderful art collection and to have had access to their library during the time that 1 was completing this project. Sharon Kokot at the Columbus Museum of Art provided many meaningful work opportunities and many stimulating conversations for which 1 am grateful. Dr. Matt Senior helped me make contacts in France, and provided advice on literary concepts. The encouragement and insight of Dr. Robert Jiobu and Karen Jiobu have helped me complete this task. 1 am also very grateful to those persons who directly supported the research and travel necessary for completion of this project, and for their friendship along the way. Dr. Christine Verzar did everything in her power to help fund this part of my work. Many persons in Europe provided generous assistance. 1 thank Dr. Robert Coustet at the University of Bordeaux, Yves and Françoise Germain in Bernay, Jacques Thebault in Zurich. Finally, 1 thank those persons whose support was always available when needed. This includes Dr. Lee Cohen and members of the "dissertators" group, Tom and Colleen Sheaffer, and the persons who 1 thank last, but who were there first for me, my parents Leslie B. and Anita E. Curtis. n VITA 1979 - Bachelor of Arts Degree; Morehead State University, Morehead, Kentucky 1981 - Master of Arts Degree; Bowling Green State University, Bowling Green, Ohio PUBLICATIONS "A Flickering Presence in Academe." Dialogue, The Ohio Arts Journal, 5, no. 3 (January/February 1983), p. 11. "A Technology of Dreams."Dialogue, The Ohio Arts Journal, 5, no. 4 (March/April 1983), p. 11. Columbus Museum of Art.Impressionism and European Modernism: The Sirak Collection (exh. cat., Columbus, Ohio, October 12, 1991- October 11, 1992) "Images of Transference." Dialogue, An Art Journal, 9, no. 4 (July/August 1986), pp. 44-45. "Linda Montano: How to Make Art Out of Your Daily Life." Columbus Art, 7, no. 2 (Spring 1986), pp. 10-12. "Natkin's Formula." Dialogue, An Art Journal, 8, no. 4 (July/August 1985), pp. 26-27. "Post-Post-Painterly Abstraction and Urbane Art." Dialogue, An Art Journal, 8, no. 1 (January/February 1985), p. 22. "Nam June Paik; V-Idea." Columbus Art, 7, no. 1 (Winter 1986), pp. 8-9. FIELDS OF STUDY Major Field: History of Art Minor Fields: American Art Northern Renaissance Art m TABLE OF CONTENTS ACKNOWLEDGEMENTS....................................................................................... ii VITA........................................................................................................................... iü LIST OF PLATES..................................................................................................... v INTRODUCTION.................................................................................................... 1 CHAPTER PAGE I. APPARITION AND HEAD ON A PLATTER: SALOME AND JOHN THE BAPTIST............................ 11 i. Salome and John Together.................................................... 13 ii. The Apparition....................................................................... 18 hi. Other Apparitions.................................................................. 50 iv. The Head on a Platter: Alone.............................................. 56 II. MECHANISM OF MEANING............................................................... 108 i. The Artist as Saint: The Work of Other Artists and Writers ............................................... 117 ii. The Artist as Saint: The Severed Head Treated as an Autobiographical Element in Redon's Work.................................................. 139 hi. Pathographic Approaches to the Study of Redon..................................................................... 146 iv. Oedipus and the Sphinx .................................................... 162 V . The Femme Fatale and The Gaze ...................................................... 180 vi. The Severed Head and the Spectator ............................... 208 III. ORPHEUS................................................................................................. 263 CONCLUSION.................................................................................................... 291 BIBLIOGRAPHY................................................................................................. 298 IV LIST OF PLATES PLATE PAGE I. Redon. Salomé with the Head of John the Baptist. c.1880-1885. charcoal on paper. Nelson-Atkins Museum of Art, Kansas City........................................................................... 317 II. Gustave Moreau.Jeune fille thrace portant la tête d'Orphée. 1865 (Salon of 1866). oil on canvas. Musée d'Orsay, Paris 318 III. Redon. Adolescent nu, debout tendant les bras ver la droite. pencil. Cabinet des dessins. Musée du Louvre, Paiis................ 319 IV. Redon. Femme nue, debout, élevant un plat vers la droite. pencil. Cabinet des dessins. Musée du Louvre, Paris................ 320 V. Alexandre Séon. Frontispiece ofLa Décadence latine. Esthétique VIII, V Androgyne by Joséphin Peladan, 1891 ............ 321 VI. Henri-Alexandre-Georges Regnault. Salomé. 1869-1870 (Salon of 1870). o.c. Metropolitan Museum of Art, New York City.................................................................................. 322 VII. Edouard Toudouze.Salome Triumphant, c.1886 (Salon of 1886). o.c. After Dijkstra, Idols of Perversity .................................. 323 VIII. Redon. L'Apparition. 1883. charcoal with white gouache highlights on chamois paper. Musée des Beaux-Arts, Bordeaux............................................................................................. 324 IX. Gustave Moreau.L'Apparition. 1876. watercolor. Cabinet des dessins. Musée du Louvre......................................................
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