Vision - Odilon Redon
Archival giclée
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Description
A haunting lithograph by Symbolist artist Odilon Redon, featuring a luminous, disembodied eye suspended in a dark, dreamlike space.
Odilon Redon, a central figure in the Symbolist movement, produced this lithograph as part of his 1879 portfolio, Dans le Rêve. The work displays his mastery of the medium, using the deep, velvety blacks characteristic of his 'noirs' to create an atmosphere of psychological unease and dreamlike mystery.
The composition features a large, luminous eye suspended in a dark, celestial void, radiating light against the surrounding shadows. Below, two small, silhouetted figures stand upon a chequered floor, framed by architectural columns that suggest a classical setting. The contrast between the vast, cosmic scale of the eye and the diminutive human presence creates a sense of detachment from reality. Redon often explored themes of the subconscious, the occult, and the internal life of the mind, moving away from the objective observation favoured by his contemporaries.
Technically, the print demonstrates Redon's ability to manipulate light and texture through lithographic crayon. The soft, atmospheric glow emanating from the central orb is achieved through delicate layering and scraping, which allows the white of the paper to emerge from the dense, dark ink. This technique provides a tactile quality to the image, reinforcing the ethereal nature of the subject. The work invites the viewer to look beyond the physical world, engaging with the irrational and the imaginative realms that Redon sought to capture throughout his career. It remains a primary example of his contribution to late nineteenth-century printmaking, where the artist prioritised the expression of internal states over the representation of external phenomena.
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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
Vision - 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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