Pepper and Lemon on a White Tablecloth - Odilon Redon
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A quiet, atmospheric still life by French Symbolist Odilon Redon, featuring a single pepper and lemon on a textured white cloth.
Odilon Redon is primarily recognised for his dreamlike, monochromatic charcoal drawings and lithographs, yet his later career saw a shift toward colour and oil painting. This still life, depicting a single green pepper and a yellow lemon resting upon a white cloth, demonstrates his interest in the physical presence of objects. The composition is sparse, focusing the viewer's attention on the interplay between the two fruits and the textured surface of the fabric.
Redon applies paint with a soft, almost atmospheric touch. The white tablecloth is not a flat, uniform surface but a field of subtle tonal variations, suggesting the weave of the fabric and the way light settles across it. The pepper, rendered in deep, saturated greens, provides a stark contrast to the bright, rounded form of the lemon. The background remains neutral, allowing the objects to occupy the space without the distraction of complex surroundings.
Unlike his earlier, more enigmatic works that explored the subconscious, this painting reflects a period where Redon engaged directly with the traditions of still life. He avoids the rigid precision of academic painting, opting instead for a painterly approach that prioritises light and colour relationships. The red stripes on the cloth add a small, deliberate detail that anchors the composition, preventing the image from feeling entirely detached from reality. This work offers a quiet study of form and colour, showing the artist's ability to find interest in simple, everyday subjects. It is a clear example of how Redon transitioned from the dark, internal worlds of his early career to the luminous, observational studies of his final years.
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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
Pepper and Lemon on a White Tablecloth - 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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