Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
First a Pool of Water, Then a Prostitute, the Corner of a Temple, a Soldier's Face, a Chariot with Two White, Rearing Horses - Odilon Redon
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A haunting lithograph from Odilon Redon's 1896 series, 'The Temptation of Saint Anthony', featuring ethereal figures emerging from deep, velvety shadows.
This lithograph is the first plate from the series 'La Tentation de Saint Antoine' (The Temptation of Saint Anthony), published in 1896. Odilon Redon, a French artist associated with the Symbolist movement, produced several series based on the writings of Gustave Flaubert. This specific work demonstrates his mastery of lithographic technique, where he manipulates light and shadow to create an atmosphere of dreamlike ambiguity.
The composition is dominated by deep, velvety blacks, a hallmark of Redon's 'noirs' period. Within this darkness, spectral forms emerge. The title itself acts as a narrative guide, listing disparate elements that appear to float within a void. A figure, often interpreted as the prostitute, gazes downward, while the rearing horses and the architectural fragment of the temple appear as phantasmagorical apparitions. Redon avoids clear spatial logic, preferring to evoke a psychological state rather than a physical reality.
His use of lithography allows for a range of textures, from the dense, opaque blacks of the background to the delicate, scratchy lines that define the figures. The light appears to emanate from within the image, casting an ethereal glow on the subjects. This print reflects the artist's interest in the subconscious and the irrational, themes that occupied much of his career. By stripping away the context of the physical world, Redon forces the viewer to engage with the image as a series of visual metaphors. The work is a fine example of how printmaking can be used to explore the boundaries between the seen and the imagined, providing a glimpse into the internal world of the artist.
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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
Complete The Look
First a Pool of Water, Then a Prostitute, the Corner of a Temple, a Soldier's Face, a Chariot with Two White, Rearing Horses - Odilon Redon
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Odilon Redon
Redon's father made his fortune in the slave trade in Louisiana in the 1830s. The boy was conceived in New Orleans and born in Bordeaux in 1840. His parents sent him to live with an uncle on a rural estate at Peyrelebade, where he spent most of his childhood alone. He was sickly and withdrawn. The isolation produced someone who looked inward when he drew.
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.
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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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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