Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
La Fleur du Marécage, une tête humaine et triste - Odilon Redon
Precio habitual
£28.00 GBP
Precio de oferta
£28.00 GBP
Precio habitual
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A haunting Symbolist lithograph by Odilon Redon, depicting a melancholic human face emerging from a dark marsh as a flower.
This lithograph, titled La Fleur du Marécage, une tête humaine et triste (The Marsh Flower, a human and sad head), is a characteristic example of the dark, dreamlike imagery produced by the French artist Odilon Redon. Created in 1885, the work belongs to a period when Redon focused almost exclusively on charcoal drawings and lithography, which he referred to as his noirs. These monochrome works allowed him to explore the boundaries between reality and the subconscious mind.
The composition features a solitary, anthropomorphic flower emerging from a dark, still body of water. The bloom itself is replaced by a melancholic human face, surrounded by a radiant, ethereal glow that contrasts sharply with the surrounding gloom. The surrounding environment is rendered in deep, velvety blacks, achieved through the precise application of lithographic ink. This technique creates a sense of atmospheric depth and mystery, typical of the Symbolist movement, which sought to represent internal states rather than external appearances.
Redon was deeply influenced by the literature of his time, particularly the works of Edgar Allan Poe and Charles Baudelaire. His imagery often draws upon themes of isolation, metamorphosis, and the uncanny. In this print, the hybrid nature of the subject—part plant, part human—invites the viewer to contemplate the fragility of the psyche. The technical mastery of the lithographic medium is evident in the subtle gradations of tone, which move from the absolute darkness of the background to the delicate, luminous lines defining the face. This print is part of a larger series of works that demonstrate Redon's ability to transform mundane subjects into haunting, psychological narratives.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Completa el look
La Fleur du Marécage, une tête humaine et triste - Odilon Redon
Precio habitual
Desde £28.00 GBP
Precio de oferta
Desde £28.00 GBP
Precio habitual
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Odilon Redon
Redon's father made his fortune in the slave trade in Louisiana in the 1830s. The boy was conceived in New Orleans and born in Bordeaux in 1840. His parents sent him to live with an uncle on a rural estate at Peyrelebade, where he spent most of his childhood alone. He was sickly and withdrawn. The isolation produced someone who looked inward when he drew.
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.
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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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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