Two Trees - Odilon Redon
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Beschreibung
A moody, atmospheric lithograph by Odilon Redon, capturing the textured forms of two trees through a masterful use of light and shadow.
Odilon Redon is widely recognised for his exploration of the subconscious and the dreamlike qualities of his imagery. While he is frequently associated with the Symbolist movement, his early career involved a rigorous engagement with the physical world through drawing and printmaking. This lithograph, depicting two trees, demonstrates his mastery of tonal variation and light.
In this work, Redon focuses on the tactile qualities of bark and the interplay of shadow within a wooded environment. The composition is grounded in the observation of nature, yet it retains the atmospheric tension characteristic of his later, more fantastical works. The heavy, dark masses of the trunks contrast with the lighter, textured ground, creating a sense of depth that draws the viewer into the quiet space between the trees.
Redon utilised the medium of lithography to achieve a range of greys and blacks that mimic the softness of charcoal. This technique allows for a subtle modulation of light, which gives the trees a physical presence. The absence of a clear horizon or sky forces the viewer to focus entirely on the organic forms and the texture of the forest floor. By stripping away extraneous detail, Redon invites a contemplative engagement with the subject. This print provides a glimpse into the artist's technical development, showing how he applied his interest in light and shadow to natural subjects before moving toward the more abstract, visionary themes that defined his later career. It is a study of form, light, and the quiet stillness of the natural world.
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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
Two Trees - 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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