Cover for Hommage à Goya - Odilon Redon
Archival giclée
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Description
The original cover design for Odilon Redon's 1885 portfolio, Hommage à Goya, featuring elegant typography and historical printer details.
This print serves as the cover for the portfolio Hommage à Goya, a collection of six lithographs produced by Odilon Redon in 1885. The work demonstrates the artist's engagement with the legacy of Francisco Goya, whose dark, imaginative prints influenced Redon's own exploration of the subconscious and the fantastic. Unlike the dreamlike, shadowy imagery found within the portfolio, this cover is a study in clean, formal typography and balanced layout.
The composition is centred, featuring a combination of gothic-style lettering for the word Hommage and a fluid, cursive script for the name Goya. The text is printed on a neutral, grey-toned paper, which provides a subtle background for the black ink. Below the main title, the artist includes details regarding the edition size, noting that only fifty copies were produced. At the base, a small rectangular stamp identifies the printer, L. Dumont of Paris, adding a layer of historical authenticity to the document.
Redon is primarily known for his charcoal drawings and lithographs, which he referred to as his noirs. While this specific piece is purely typographic, it functions as the threshold to his broader artistic project of the period. It reflects the meticulous care he applied to the presentation of his work, ensuring that the packaging of his portfolios was as considered as the prints contained inside. The piece is a fine example of nineteenth-century graphic design, showing how artists of the Symbolist movement approached the presentation of their limited-edition publications. It remains a piece of interest for those who study the intersection of printmaking, typography, and the history of the French avant-garde.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Cover for Hommage à Goya - Odilon Redon
Artist Biography
Odilon Redon
For the first two decades of his career he worked exclusively in black: charcoal drawings and lithographs he called his noirs. Floating eyeballs, severed heads with closed lids, spiders with human faces, plants that grow teeth. The images are hallucinatory but precisely rendered, closer to medical illustration than fantasy. He published his first lithograph album, Dans le Reve, in 1879. Nobody noticed.
Recognition came sideways. In 1884, Joris-Karl Huysmans published A rebours, a novel about a reclusive aesthete who decorates his rooms with Redon's prints. The book became a cult text for the Symbolist movement and Redon became famous by association. Stephane Mallarme, the Symbolist poet, became a close friend. Redon also completed a series of lithographs dedicated to Edgar Allan Poe, whose poems Mallarme and Baudelaire had translated into French.
After 1900 he stopped making noirs entirely and shifted to colour: pastels and oils of flowers, mythological figures and butterflies in palettes that anticipate Matisse. The transition was so complete that the Surrealists later claimed the black work while the Fauves claimed the colour, and neither group seemed to notice they were talking about the same person.
He studied under Jean-Leon Gerome at the Ecole des Beaux-Arts, which is an unlikely pairing: Gerome painted Roman gladiators with photographic precision. Redon painted eyeballs attached to balloons. Goya and Delacroix were the influences that actually stuck.
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