The Chimera with Green Eyes Turns, Bays - Odilon Redon
Archival giclée
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Description
A haunting lithograph by Odilon Redon, this Symbolist work captures a mythical chimera emerging from deep, atmospheric shadows.
Odilon Redon, a central figure in the Symbolist movement, produced this lithograph as part of a series exploring the boundaries between reality and the subconscious. The work depicts a chimera, a creature of classical mythology, emerging from a dense, atmospheric darkness. Redon utilised the technical possibilities of lithography to create a range of blacks, from deep, velvety shadows to lighter, ethereal greys that suggest a dreamlike environment. In this composition, the creature is rendered with a focus on texture and form rather than anatomical precision. The creature's head is turned, its gaze directed away from the viewer, while its body dissolves into the surrounding gloom. The artist's approach to light is unconventional, as he uses it to define the creature's presence against the void. This technique creates a sense of mystery, inviting the viewer to interpret the figure through their own psychological lens. Redon's work often drew inspiration from literature and the darker aspects of the human imagination. By focusing on the chimera, he engages with themes of transformation and the uncanny. The print demonstrates his mastery of the medium, showing how he could manipulate ink on stone to achieve painterly effects. The lack of a clear setting or background forces the viewer to confront the creature directly, stripped of context. This print is a characteristic example of Redon's black-and-white period, during which he explored the expressive potential of charcoal and lithographic ink to evoke states of mind rather than physical reality. The image remains a study in the power of suggestion, relying on the viewer's perception to complete the narrative implied by the creature's posture and the surrounding darkness.
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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. EU customers have a 14-day cooling-off right. 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.
The Chimera with Green Eyes Turns, Bays - Odilon Redon
Our Features
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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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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