Beatrice - Odilon Redon
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Beschreibung
A luminous pastel portrait by Odilon Redon, depicting the literary figure Beatrice in a dreamlike, golden-hued atmosphere.
Odilon Redon, a central figure in the Symbolist movement, produced this ethereal portrait of Beatrice during a period when his work shifted from the monochromatic charcoal drawings of his early career toward a luminous, colour-saturated palette. The subject, inspired by the muse of Dante Alighieri, is rendered with a soft, dreamlike quality characteristic of Redon's later output.
The composition focuses on the profile of the figure, whose head is tilted in a gesture of quiet contemplation. Redon employs pastel to create a textured, glowing surface. The golden tones of the skin and hair contrast with the cerulean blue of the background, which is punctuated by small, floating forms that suggest a celestial or otherworldly space. The application of pigment is delicate, allowing the paper grain to contribute to the hazy, atmospheric effect of the image.
Unlike the rigid realism of his contemporaries, Redon prioritised the internal state of his subjects. The figure of Beatrice does not occupy a physical room; she exists within a psychological or spiritual realm. The crown of flowers, rendered in light, warm hues, reinforces the classical and literary associations of the title. This work demonstrates Redon's ability to manipulate light and colour to evoke a sense of mystery. By moving away from precise anatomical detail, he invites the viewer to engage with the emotional resonance of the portrait rather than its literal representation. The work remains a primary example of how Redon translated literary themes into visual form through the medium of pastel, creating images that feel suspended in time.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
Beatrice - 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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