Abstract
Odilon Redon admired Paul Gauguin’s use of color, which he called color “derived from that of an other.” A distinctly foreign (as opposed to French) palette is central to both artists’ work, which features striking, nonmimetic colors. Both were reacting against Neo-Impressionist color theory as well as color theorist Charles Blanc’s xenophobic statements about the corrupting influence of color on French art. Gauguin embraced the “pure” colors of non-Western art, whereas Redon proposed a hybrid color palette blending new technologies and traditional models of color while extending French national identity to include the cultures (and colors) of colonial France.
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