Le Noyé - Odilon Redon
Giclée de archivo
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Descripción
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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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
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- 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
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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