Homage to Goya - Odilon Redon
Archival giclée
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Description
A collection of six evocative lithographs by Odilon Redon, inspired by the dark, imaginative works of Francisco Goya.
Homage to Goya is a collection of six lithographs produced by Odilon Redon in 1885. This series demonstrates the artist's mastery of the lithographic medium, which he utilised to explore the boundaries between reality and the subconscious. Redon, a central figure in the Symbolist movement, drew inspiration from the dark, imaginative works of Francisco Goya, particularly the Spanish master's Caprichos and Disparates series.
Each plate in this collection presents a distinct, dreamlike vision. The imagery is characterised by high-contrast chiaroscuro, where deep, velvety blacks emerge from the paper to define unsettling, ambiguous forms. Redon avoids clear narrative structures, preferring to evoke a sense of mystery through strange juxtapositions, such as a human face emerging from a flower or solitary figures set against barren, desolate backgrounds. The technique relies on the subtle manipulation of lithographic crayon, creating textures that range from dense, opaque shadows to soft, ethereal light.
These prints reflect Redon's interest in the 'noirs', a term he used to describe his monochromatic works that prioritised internal psychological states over external observation. By focusing on the suggestive power of shadows and the distortion of familiar objects, Redon invites the viewer to engage with the irrational and the uncanny. The series remains a significant example of late nineteenth-century printmaking, showcasing the capacity of the medium to convey complex, non-linear ideas. This collection is essential for those interested in the development of modern art, as it bridges the gap between traditional graphic techniques and the later explorations of the Surrealists.
Return policy
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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Homage to 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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