Portret van Roger Marx - Odilon Redon
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Descripción
A refined 1904 lithograph portrait of art critic Roger Marx by the French Symbolist artist Odilon Redon.
This lithograph by Odilon Redon, dated 1904, depicts the French art critic Roger Marx in profile. Redon, a figure associated with the Symbolist movement, often moved away from the literal representation of his subjects. In this work, he employs a delicate, atmospheric technique that allows the figure to emerge from the paper with a ghostly quality. The focus remains on the head and the prominent beard, rendered with soft, granular marks characteristic of the lithographic process.
Roger Marx was a significant supporter of contemporary artists during the late 19th and early 20th centuries. Redon captures him with a sense of quiet contemplation. The composition is sparse, lacking a background or environmental context, which forces the viewer to engage directly with the features of the sitter. The shading around the eye and the texture of the beard demonstrate Redon's ability to manipulate light and shadow to create a psychological presence. Unlike his earlier, darker 'noirs' which explored macabre or dreamlike themes, this portrait reflects a more restrained, observational approach to the human form.
The print demonstrates the technical proficiency Redon achieved in lithography, a medium he favoured for its ability to produce soft, tonal gradations. By limiting the visual information to the profile, Redon emphasises the structure of the face and the character of the individual. This work is a clear example of his mature style, where the artist balances technical precision with an ethereal, almost weightless quality. It remains a fine example of early 20th-century portraiture, capturing a specific intellectual figure through the lens of a master of the medium.
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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.
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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
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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
Portret van Roger Marx - 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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