Le Noyé - Odilon Redon
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Beschreibung
A haunting 1882 lithograph by Odilon Redon, featuring a solitary face emerging from dark waters beneath a celestial orb.
Le Noyé, or The Drowned Man, is a lithograph produced by Odilon Redon in 1882. It belongs to a period in the artist's career when he focused almost exclusively on black and white media, which he termed his noirs. These works explore the boundaries between the conscious mind and the dream state, often utilising ambiguous forms and stark contrasts to evoke a sense of unease or mystery.
The composition is dominated by a large, dark, sun-like orb suspended in the upper portion of the frame. Its rays radiate downwards, casting a heavy, atmospheric gloom over the scene. Below, a vast, indistinct expanse of water occupies the lower half of the image. A single, pale face emerges from the surface, representing the drowned figure. The contrast between the intense blackness of the sky and the subtle, ghostly rendering of the face creates a tension that is characteristic of Redon's graphic output during the 1880s.
Redon's technique in this lithograph relies on the manipulation of charcoal-like textures and varying degrees of ink density. By scraping and layering the stone, he achieved a range of grey tones that suggest depth and ethereal light. The work does not rely on clear narrative or anatomical precision. Instead, it functions through suggestion and mood. The viewer is invited to contemplate the silence of the scene and the isolation of the subject. This print demonstrates the artist's ability to transform simple materials into complex psychological studies, moving away from the objective observation favoured by his contemporaries in the Impressionist movement. It remains a representative example of the Symbolist interest in the internal world of the imagination.
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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
Le Noyé - 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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