A haunting lithograph from Odilon Redon's 1899 Apocalypse series, depicting the descent of the New Jerusalem through stark contrasts of light and shadow.

This lithograph is part of the Apocalypse de Saint-Jean series, a collection of twelve prints produced by Odilon Redon in 1899. The work interprets the biblical vision from the Book of Revelation, where the celestial city descends from the heavens. Redon employs his characteristic use of lithographic ink to create a stark contrast between the dense, velvety blacks of the foreground and the ethereal, light-filled space above. The composition is divided into two distinct zones. In the lower portion, a jagged, dark mass occupies the space, grounding the viewer in a terrestrial perspective. Above this, the architectural form of the New Jerusalem appears as a ghostly, translucent structure. Redon avoids literal representation, opting instead for a dreamlike quality that aligns with the Symbolist movement. The city is rendered with delicate, sparse lines, suggesting a structure made of light rather than stone. This contrast between the heavy, textured shadows and the weightless, linear city creates a sense of spiritual transcendence. Redon was known for his 'noirs', a series of charcoal drawings and lithographs that explored the subconscious and the mystical. In this print, the artist captures the psychological weight of the vision rather than its physical appearance. The inclusion of the French text at the base of the print, 'Et moi Jean, je vis la sainte cité, la nouvelle Jérusalem, qui descendait du Ciel d'auprès de Dieu', provides the narrative context for the image. The work demonstrates Redon's mastery of tone and his ability to evoke a sense of mystery through minimal visual information. It is a fine example of late nineteenth-century printmaking, where the medium was used to explore themes beyond the visible world.