Springend paard op wolken (Pegasus) - Odilon Redon
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Beschreibung
A striking lithograph by Odilon Redon, capturing the dynamic form of a rearing horse through expressive, calligraphic lines.
Odilon Redon, a central figure in the Symbolist movement, frequently explored themes of mythology and the subconscious. This work, depicting a rearing horse, captures the ethereal quality often associated with his later lithographic output. The horse, frequently interpreted as Pegasus in Redon's oeuvre, emerges from a nebulous, cloud-like background, reflecting the artist's interest in the transition between reality and dream states.
The composition relies on the economy of the lithographic medium. Redon uses bold, calligraphic strokes to define the musculature and movement of the animal, while the surrounding space remains largely unworked, suggesting an atmosphere of weightlessness. By stripping away extraneous detail, the artist focuses the viewer's attention on the kinetic energy of the creature. The contrast between the dark, gestural lines of the horse and the neutral tone of the paper creates a sense of depth without the need for traditional perspective.
Redon's approach to this subject avoids literal representation. Instead, he prioritises the emotional resonance of the form. The horse appears to be suspended in a void, a common motif in his work that invites subjective interpretation. This print demonstrates his ability to manipulate light and shadow through texture, a hallmark of his technical skill in printmaking. The work remains a clear example of how Redon moved away from the objective observation of the natural world, choosing instead to represent internal visions and poetic abstractions. It is a study in movement and form, stripped of narrative clutter, allowing the viewer to engage directly with the artist's unique visual language.
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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
Springend paard op wolken (Pegasus) - 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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