He Fixed His Eyes on Me with an Expression That Was So Strange - Odilon Redon
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Description
A haunting lithograph by Odilon Redon, featuring a dog with a strangely human expression, from his Symbolist series inspired by Gustave Flaubert.
This lithograph by Odilon Redon belongs to the series 'À Gustave Flaubert', a collection of prints inspired by the literary works of the French novelist. The image depicts a dog, rendered with a haunting, anthropomorphic quality that is characteristic of Redon's 'noirs' period. The artist employs a delicate use of lithographic crayon to build texture and shadow, creating a sense of unease through the animal's direct, melancholic gaze.
Redon was a central figure in the Symbolist movement, often moving away from the objective representation of the physical world to explore the internal, dreamlike states of the human psyche. In this work, the dog acts as a vessel for psychological projection. The stark, empty background forces the viewer to confront the animal's expression, which the title suggests is unnervingly human. The diagonal hatching in the upper portion of the print provides a sense of atmospheric tension, typical of Redon's mastery of light and shadow in monochrome media.
Unlike his contemporaries who focused on the fleeting effects of light, Redon sought to represent the unseen. This print demonstrates his ability to imbue a simple subject with a sense of mystery. The composition is sparse, focusing entirely on the interaction between the viewer and the subject. It is a fine example of how Redon utilised printmaking to disseminate his imaginative visions, bridging the gap between literature and visual art through his unique, evocative style.
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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.
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Specific Features
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- 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
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- Dust gently with a soft, dry cloth
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- Keep in a dry, room-temperature space
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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
He Fixed His Eyes on Me with an Expression That Was So Strange - 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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