Devil take a head in the air - Odilon Redon
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Beschreibung
A haunting charcoal study by Symbolist artist Odilon Redon, depicting a winged figure carrying a disembodied head through a dreamlike, atmospheric sky.
Odilon Redon, a central figure in the Symbolist movement, produced this work during a period when he focused almost exclusively on charcoal drawings, which he termed his 'noirs'. These works explore the boundaries between the conscious mind and the dream state, often featuring bizarre, hybrid creatures and disembodied forms that defy rational explanation.
In this composition, a winged, devilish figure carries a large, detached human head through the sky. The scene is rendered with a mastery of light and shadow, where the deep, velvety blacks of the charcoal contrast against the warm, ochre-toned paper. The figure and the head appear as silhouettes against the atmospheric void, while a faint, dark outline of a building sits on the horizon, grounding the otherwise ethereal and unsettling narrative in a recognisable, albeit gloomy, reality.
Redon was deeply influenced by the literature of Edgar Allan Poe and the scientific observations of Charles Darwin, both of which inform the strange, evolutionary, and psychological nature of his subjects. Rather than depicting the physical world, he sought to represent the internal life of the imagination. The ambiguity of the subject matter invites the viewer to project their own interpretations onto the scene, as the artist provides no clear narrative resolution. The technical execution demonstrates Redon's ability to manipulate charcoal to achieve a range of textures, from the dense, opaque shadows of the figures to the lighter, more diffused tones of the surrounding space. This print captures the specific tonal qualities of the original charcoal medium, offering a glimpse into the dark, poetic vision that defined Redon's early career.
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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
Devil take a head in the air - 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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