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BARBARA LARSON
BARBARA
LARSON
1) <<The
Sky over Paris,,, color lithograph (from:A. Guillemin, Le Ciel: notions 6l6mentaires d'astronomie physique,
Paris, 1877).
with germinatingcells that culminate in a fullydeveloped floating head, as Redon explores the evolution of the universe and
life itself. In this work he recreates an active, unfolding universe. The artistpositions the viewer in the midst of a pulsating
field, a device which may well respond to the growing literature
on the "voyage sidereal" as a way of popularizingknowledge
about the universe. In the astronomer Camille Flammarion's
Les Etoiles, for example, the chapter on the contemplation of
the heavens begins, "Earthis forgotten with its miniscule and
ephemeral history. The sun itself, with its great solar system
falls back into the infinite night. Under the wing of stellar
comets we have taken flight towards the stars, the suns of
space."3 In Guillemin'sLe Ciel we are stationaryobservers, but
the cosmos's ongoing drama is enacted: "Aluminous globe
appears in the distance. Littleby little,it approaches-its great
circumferenceis over one hundredthousand leagues. Rapidly
rotating it passes in front of us, carried away by space with
twenty-fourtimes the rapidityof a cannon ball. This is Jupiter
circlingthe sky. The vertiginousorb would fly on foreverwere it
not for the attractionit has for the heavenly body of the sun..."4
withits eclipselikecentralorb surroundedby
"Germination",
flame-likeprojections,may also contain a reference to another
aspect of the emerging new astronomy: the birth of solar
physics, which was indebted to the development of spectroscopy and, in these earlyyears, eclipse studies. The invention
of spectroscopy in 1859 even more profoundlyaltered man's
128
previouslyheld belief in eternalcosmic truthsthan did telescopic observation. Spectroscopy broke down the light received
from a given heavenly body into a series of colored bands that
revealed the elements of which a star or planetwas composed.
It was used to study the physical structureand chemical substance of heavenly bodies. From this information,data about
temperature and age could be deduced, revolutionizingthe
seemed
study and understandingof the solar system. Variability
BARBARA
LARSON
graphite and
4) Odilon Redon, (<WomanWearing a K6pi>>,
gouache, 1871. Paris, Mus6e du Petit Palais. Photo
museum.
INODILONREDON'SNOIRS
WARANDCOSMOLOGICAL
SYMBOLISM
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BARBARA
LARSON
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9) Albrecht Durer,<<Melancholia
engraving, 1514.
Museum.
Photo:
The
British
London,
Marburg/Art
Resource, NY.
BARBARA
LARSON
THEFRANCO-PRUSSIAN
WARANDCOSMOLOGICAL
INODILONREDON'SNOIRS
SYMBOLISM
BARBARA
LARSON
Figuier'sLe lendemain de la mort, ou la vie futureselon la science (1871). According to Figuier, after death the spirit of
a given planetary inhabitant gravitates into the ether of the
atmosphere. If his life was not perfected enough he will be
reincarnated;otherwise, he will find his eventual home in the
sun. Here the spirit becomes part of solar light, spreading life
throughoutthe universe. Anotherdreamer who sought spiritual escape from war-timedisaster was Louis Blanqui.Arrested
one day before the Commune began, this politicalfigure spent
five months in a dank, gloomy cell penning the treatise
L'Eternitepar les astres: Hypothese astronomique, published
in 1872. According to these remarkable ideas, the earth is
repeated as a planet throughouteternitywith carbon copies of
136
each human and their actions duplicated ad infinitumthroughout time. Likeso many who were writingabout existences on
other planets and stars, he brought up new spectroscopic
studies as proof that all worlds were in fact the same as our
own.19
Certain of Redon's images such as "Pilgrimof the SublunarWorld"from the lithographicseries Dreams (1891) suggests an interest in metempsychosis [Fig. 15]. Here Redon
WARANDCOSMOLOGICAL
INODILONREDON'SNOIRS
THEFRANCO-PRUSSIAN
SYMBOLISM
seems to be following Flammarion'sconvictionthat in the spiritual journey of rebirthearth is lowly with better expectations
for the next life. These ideas, based on ancient notions, had its
most important source in recent literature with Reynaud's
-"-.':",s-;'
Terreet ciel of 1854 which established the doctrine of transmigration. Reynaud had posited progressive improvement as
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BARBARALARSON
1 On
photography of celestial bodies in these years see exh.
cat. Dans le champ des etoiles: Les photographes et le ciel 18502000, Paris, Musee d'Orsay,2000.
250.
1879, p.
10 Ibid.,
p.93.
138
265, 294, 656, 664; IV, 2574, 2625 and Andre Mellerio, Odilon
Redon, 1913, nos. 39 and 42.
12 Revelation,chapter 8, verse 10.
13 Ibid.,chapter 8, verse 7 and Chapter9, verse 10.
14 On the
history of apocalyptic imagery see exh. cat. The
Apocalypse and the Shape of Things to Come, London, British
Museum, 1999 and Frederic Van de Meer, LApocalypse dans I'art,
Paris, 1978. On the apocalypse, also see Eugen Weber,Apocalypses:
Prophecies, Cults, and MillenialBeliefs through the Ages, London
1999 and PierrePrigent,L'Apocalypse,Paris, 1998.
15 Quoted in Michael J. Crowe, The Extraterrestrial
Life Debate
1750-1900: The Idea of a Pluralityof Worldsfrom Kant to Lowell,
Cambridge,1986, p. 402.
16 In 1877 Mars was in close opposition to earth and the
astronomerGiovanniSchiaparellireportedthat he observed "canali"on
Mars.The interpretationof this word, which simply means "channels",
as something suggesting waterwaysformed by intelligentbeings was
made by Schiaparelli'scolleagues who did not speak Italian,ratherthan
by the Italianastronomerhimself.The idea generated by the "canali"
was that intelligentMartianshad built canals to channel melting ice
masses to drycentralregions of the planet.Capitalizingon a discourse
that had gone past his controlSchiaparellihimselfappeared beforethe
kingand queen of Italythe followingyear in whathe lateradmittedto be
a "Flammarionesquestyle",requestinga largertelescope to find additionalevidence about "Marswhich appears to be "aworldlittledifferent
from our own." This controversy brought Flammarion'swritings on
lifedebate would
extraterrestrial
lifeto center stage. The extraterrestrial
peak twentyyears laterwith Flammarion'sown La Planete Marset ses
conditionsd'habitabiliteand H. G. Wells's Warof the Worlds.
17 Camille Flammarion,La Pluralitedes mondes habites, Paris,
1864, p. 9.
18
Ibid., p.319.
19 Crowe (as in note 15), 99. 407-408.