Lady of the Flowers - Odilon Redon
Archival giclée
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Description
A dreamlike Symbolist portrait by Odilon Redon, featuring a woman in profile surrounded by soft, luminous floral forms in warm golden tones.
Odilon Redon, a central figure in the Symbolist movement, moved away from his earlier monochromatic charcoal works towards a luminous, colour-saturated palette in his later years. Lady of the Flowers is a characteristic example of this transition. The composition features a female figure in profile, positioned against a warm, golden-ochre background. Her head is framed by an arched structure, which suggests a window or a niche, filled with a dense arrangement of blossoms.
The application of paint is soft and atmospheric, creating a dreamlike quality that defines Redon's mature style. The figure is rendered with a gentle, contemplative expression, her gaze directed away from the viewer. The floral elements are not depicted with botanical precision, but rather as patches of colour and light that merge with the surrounding space. This approach reflects the artist's interest in the internal world of the imagination rather than the external reality of the physical world.
Redon often employed these decorative, floral motifs to surround his subjects, creating a sense of mystery and quietude. The interplay between the figure and the surrounding flora suggests a harmonious, almost mystical connection between humanity and nature. The warm, golden tones dominate the canvas, providing a unified atmosphere that draws the viewer into the scene. This work demonstrates the artist's ability to evoke mood through colour and light, moving beyond traditional portraiture to create a poetic, subjective experience. The lack of sharp edges and the blending of forms contribute to the ethereal quality of the piece, inviting quiet observation.
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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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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
Lady of the Flowers - 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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