In 1798, Redouté attracted another important patron, the Empress Josephine, wife of Napoleon Bonaparte, who commissioned an extensive series of paintings after the ornamental flowers in her lavish gardens at Malmaison, which became the plates for the books Jardin de Malmaison (1803-04) and Description des Plantes Rares Cultivées à Malmaison et à Navarre (1812-14). He also created plates for Duhamel du Monceau’s monumental seven-volume horticultural study on fruit trees, Nouveau Traité des Arbres Fruitiers (1800-19). During this period he also produced two of his most famous works: Les Liliacées (1802-16) and Les Roses (1817-24). There followed another renowned collection, Choix Des Plus Belles Fleurs (1827-33). Redouté was esteemed by his artistic peers, and influenced a number of younger botanical artists including Pierre Jean François Turpin, Pierre-Antoine Poiteau, Pancrace Bessa, Mme. Vincent and Jean Prévost. In 1825, he was made a member of the Legion of Honor.
A large number of Redouté’s original watercolors on vellum are in the collection of the Musée National de La Malmaison in France and other museums, though many are in private collections. His renown, however, is due to the remarkable quality of the prints made after these paintings, which brought his works to a wider audience during his lifetime and thereafter. The most accomplished engravers of the period were engaged to translate his original paintings into stipple engravings, in which the plates are etched with small dots rather than lines. Indeed, Redouté helped refine the stipple engraving process to best capture the subtle effects, luminosity, sheen and dimensionality of his original paintings. Through a method he invented in 1796, the colors were applied to the engraved plate a la poupée before each printing, “giving to our prints all the softness and brilliance of a watercolor,” as Redouté noted. Finally, each print was finished with additional coloring by hand. Redouté’s high standards are evident in the striking way in which the resulting prints capture the subtle delicacy of flower petals and foliage.
Blunt, Wilfred, rev. by Stearn, William T. The Art of Botanical Illustration. Woodbridge, Suffolk, England: Antique Collectors Club, 1994. pp. 25-26, 194-209.
Brindle, John V., James J. White and Donald E Wendel. Flora Portrayed: Classics of Botanical Art from the Hunt Institute Collection. Pittsburgh, PA: Hunt Institute for Botanical Documentation, Carnegie-Mellon University, 1985. pp. 44-45.
Dunthorne, Gordon. Flower and Fruit Prints of the 18th and Early 19th Centuries. Their History, Makers and Uses, with a Catalogue Raisonne of the Works in Which They are Found. Washington, D.C.: Published by the Author, 1938. 231 (Redouté Lilies), 232 (Redouté Roses), 235 (Redouté Choix).
Lawrence, G.M.A., F.A. Stafleu, I. MacPhail, J.V. Brindle and A. Lawalrée.
A Catalogue of Redoutéana. April-Aug. 1963. Pittsburgh, PA: Carnegie Institute of Technology, Hunt Botanical Library, 1963. 10 (Redouté Lilies), 19 (Redouté Roses), 20 (Redouté Choix).
Nissen, Claus. Die Botanische Buchillustration: ihre Geschichte und Bibliographie. Stuttgart:1951-66. 1591 (Redouté Choix), 1597 (Redouté Lilies), 1599 (Redouté Roses).
Pierre-Joseph Redoute’s Les Liliacees. New York: Sotheby’s Publications, 1985.
Pritzel, Georg August. Thesaurus Literaturae Botanicae Omnium Gentium. Milan: 1950. 7456 (Redouté Choix).
Sitwell, Sacheverell. Great Flower Books, 1700-1900. New York: The Atlantic Monthly Press, 1990. pp. 71-72.
Stafleu, Frans A. and Richard S.Cowan. Taxonomic Literature. Utrecht: 1967. 2nd ed., Utrecht: 1976-1988. TL2 8747 (Redouté Lilies), TL2 8748 (Redouté Roses), TL2 8750 (Redouté Choix).