Having worked almost exclusively in black and white for more than two decades, Redon revealed his gifts as a colorist in the luminous pastels and paintings he made after 1895. In this bouquet, such identifiable flowers as poppies and cornflowers, which he had studied attentively, emerge as fanciful re-creations, in jewel-like patches of color against a misty, undefined field. Late flower pictures such as this one remain true to Redon's artistic aim: to place the logic of the visible at the service of the invisible.