Wing (Pegasus) - Odilon Redon
Archival giclée
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Description
A haunting lithograph by French Symbolist Odilon Redon, depicting a winged horse emerging from a dreamlike, atmospheric void.
Odilon Redon, a central figure in the Symbolist movement, produced this lithograph during a period when he moved away from his earlier 'noirs' to explore more ethereal subjects. The image depicts a winged horse, a recurring motif in his work that draws upon classical mythology while subverting traditional representation. Redon uses the lithographic medium to create a range of velvety blacks and luminous whites, allowing the creature to emerge from a nebulous, dreamlike space.
The horse is rendered with a sense of mystery, its eyes obscured or hollowed, which invites the viewer to look beyond the physical form. The wings are articulated with fine, delicate strokes that contrast with the dense, atmospheric shading of the background. By focusing on the psychological rather than the literal, Redon captures a sense of the uncanny. The composition is balanced, yet the subject feels untethered from any specific time or place, reflecting the artist's interest in the subconscious mind and the world of dreams.
This print demonstrates Redon's mastery of light and shadow. He manipulates the texture of the stone to produce a soft, granular quality that gives the image its spectral appearance. Unlike his contemporaries who focused on the observation of the external world, Redon looked inward, creating images that function as visual metaphors. This work remains a clear example of his ability to transform a familiar mythological subject into something entirely personal and enigmatic. It is a piece that rewards quiet observation, as the subtle variations in tone reveal themselves slowly to the viewer.
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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
Wing (Pegasus) - 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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