The Accused - Odilon Redon
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Beschreibung
A haunting charcoal study by Symbolist artist Odilon Redon, capturing a figure in isolation behind bars through deep, atmospheric shadows.
Odilon Redon, a central figure in the Symbolist movement, produced a series of works he termed his 'noirs'. These compositions, executed primarily in charcoal and lithography, explore the psychological depths of the human condition through shadow and ambiguity. The Accused is a representative example of this period, where the artist moves away from objective reality to capture internal states of anxiety and isolation.
The image depicts a figure positioned behind a grid, suggesting a prison cell or a barred window. The heavy application of charcoal creates a dense, atmospheric darkness that obscures much of the subject's form. Only the face and hand are clearly discernible, emerging from the gloom. The subject's expression is one of profound apprehension, with eyes that seem to search the darkness beyond the bars. The grid itself acts as a physical and psychological barrier, dividing the space and trapping the figure within a confined, claustrophobic environment.
Redon utilised the texture of the paper to manipulate light, allowing the charcoal to create soft, smudged transitions between deep blacks and muted greys. This technique avoids sharp outlines, giving the figure a ghostly, ethereal quality. By focusing on the psychological weight of the subject, Redon invites the viewer to contemplate themes of confinement, guilt, and the fragility of the human psyche. The work avoids narrative clarity, preferring instead to evoke a specific mood through its stark, monochromatic palette. It remains a study in how shadow can be used to suggest presence and absence simultaneously, reflecting the artist's interest in the subconscious mind and the dreamlike states that defined his creative output during the late nineteenth century.
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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
The Accused - 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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