The Apocalypse of Saint John - Odilon Redon
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Description
A series of twelve evocative lithographs by Odilon Redon, exploring the visionary themes of the Book of Revelation through a Symbolist lens.
Odilon Redon produced this series of twelve lithographs in 1899, drawing inspiration from the biblical Book of Revelation. As a central figure within the Symbolist movement, Redon moved away from the objective observation of the natural world, choosing instead to explore the interiority of the human psyche and the realm of dreams. This collection demonstrates his mastery of the lithographic medium, specifically his ability to manipulate light and shadow to create an atmosphere of mystery and unease.
The prints utilise a wide range of tonal values, from deep, velvety blacks to ethereal, luminous whites. Redon employs a technique that allows for soft, atmospheric transitions, which gives the figures and forms a ghostly, apparition-like quality. Rather than providing a literal narrative illustration of the text, the artist focuses on the emotional and psychological weight of the apocalyptic visions. Figures emerge from darkness, often surrounded by ambiguous, swirling forms that suggest cosmic or spiritual phenomena. The imagery is sparse yet heavy with meaning, reflecting the artist's interest in the subconscious and the irrational.
This series represents a shift in Redon's career, as he began to move towards more colour-focused work in the following years. However, these lithographs remain some of his most recognised contributions to printmaking. The compositions are carefully balanced, often placing solitary figures against vast, undefined spaces. This creates a sense of isolation and contemplation. The technical execution is precise, showing the artist's control over the stone and the ink. Collectors of Symbolist art will find these works to be essential examples of the period's preoccupation with the unseen and the metaphysical.
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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
The Apocalypse of Saint John - 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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