Portret van Roger Marx - Odilon Redon
Archival giclée
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Description
A refined 1904 lithograph portrait of art critic Roger Marx by the French Symbolist artist Odilon Redon.
This lithograph by Odilon Redon, dated 1904, depicts the French art critic Roger Marx in profile. Redon, a figure associated with the Symbolist movement, often moved away from the literal representation of his subjects. In this work, he employs a delicate, atmospheric technique that allows the figure to emerge from the paper with a ghostly quality. The focus remains on the head and the prominent beard, rendered with soft, granular marks characteristic of the lithographic process.
Roger Marx was a significant supporter of contemporary artists during the late 19th and early 20th centuries. Redon captures him with a sense of quiet contemplation. The composition is sparse, lacking a background or environmental context, which forces the viewer to engage directly with the features of the sitter. The shading around the eye and the texture of the beard demonstrate Redon's ability to manipulate light and shadow to create a psychological presence. Unlike his earlier, darker 'noirs' which explored macabre or dreamlike themes, this portrait reflects a more restrained, observational approach to the human form.
The print demonstrates the technical proficiency Redon achieved in lithography, a medium he favoured for its ability to produce soft, tonal gradations. By limiting the visual information to the profile, Redon emphasises the structure of the face and the character of the individual. This work is a clear example of his mature style, where the artist balances technical precision with an ethereal, almost weightless quality. It remains a fine example of early 20th-century portraiture, capturing a specific intellectual figure through the lens of a master of the medium.
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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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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
Portret van Roger Marx - 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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