De slaap - Odilon Redon
Archival giclée
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Description
A delicate lithograph by French Symbolist Odilon Redon, capturing a figure in a state of quiet, meditative sleep through minimal, expressive lines.
This lithograph, titled De slaap, captures a singular moment of repose. Odilon Redon, a French artist associated with the Symbolist movement, often explored themes of dreams, the subconscious, and the ethereal. In this work, the subject is rendered with extreme economy of line. The figure is shown in a state of quiet slumber, with the head tilted and eyes closed, suggesting a withdrawal from the external world into an internal state of rest.
The composition is sparse, focusing entirely on the profile of the sleeping figure. Redon employs a delicate, calligraphic line to define the contours of the face and the fall of the hair. To the left, a series of parallel, hatched strokes provides a sense of shadow or perhaps a suggestion of a pillow or drapery, grounding the otherwise floating form. The paper itself remains largely untouched, allowing the negative space to contribute to the overall atmosphere of silence and stillness.
Redon was a master of lithography, a medium he used to explore the nuances of black and white. He often referred to his black-and-white works as his 'noirs', noting that they allowed him to express the hidden depths of the human psyche. This print is an example of his ability to convey complex emotional states through minimal visual information. The lack of background detail ensures that the viewer remains focused on the expression of the subject. The work reflects the Symbolist interest in the subjective experience, prioritising mood and suggestion over literal representation. It is a quiet, contemplative piece that invites the viewer to pause and observe the gentle nature of the subject's rest.
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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
De slaap - 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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