Springend paard op wolken (Pegasus) - Odilon Redon
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A striking lithograph by Odilon Redon, capturing the dynamic form of a rearing horse through expressive, calligraphic lines.
Odilon Redon, a central figure in the Symbolist movement, frequently explored themes of mythology and the subconscious. This work, depicting a rearing horse, captures the ethereal quality often associated with his later lithographic output. The horse, frequently interpreted as Pegasus in Redon's oeuvre, emerges from a nebulous, cloud-like background, reflecting the artist's interest in the transition between reality and dream states.
The composition relies on the economy of the lithographic medium. Redon uses bold, calligraphic strokes to define the musculature and movement of the animal, while the surrounding space remains largely unworked, suggesting an atmosphere of weightlessness. By stripping away extraneous detail, the artist focuses the viewer's attention on the kinetic energy of the creature. The contrast between the dark, gestural lines of the horse and the neutral tone of the paper creates a sense of depth without the need for traditional perspective.
Redon's approach to this subject avoids literal representation. Instead, he prioritises the emotional resonance of the form. The horse appears to be suspended in a void, a common motif in his work that invites subjective interpretation. This print demonstrates his ability to manipulate light and shadow through texture, a hallmark of his technical skill in printmaking. The work remains a clear example of how Redon moved away from the objective observation of the natural world, choosing instead to represent internal visions and poetic abstractions. It is a study in movement and form, stripped of narrative clutter, allowing the viewer to engage directly with the artist's unique visual language.
Política de devoluciones
Debido a que cada impresión se realiza bajo pedido, no ofrecemos devoluciones, reembolsos ni cambios por cambio de opinión. Si su pedido llega defectuoso, dañado o incorrecto, lo reemplazaremos sin cargo alguno; solo contáctenos dentro de las 48 horas posteriores a la entrega. Consulte nuestra página de reembolsos para obtener todos los detalles.
Envío
Realizamos envíos a todo el mundo, imprimiendo en el centro de producción más cercano a su dirección de entrega. Los plazos y costes de envío varían según el destino; verá las opciones disponibles para usted al finalizar la compra.
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
Springend paard op wolken (Pegasus) - 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.
¿Por qué elegirnos?
Garantía de entrega sin daños
Envío rápido
Materiales de calidad de museo
También te puede interesar