Collection
Odilon Redon
Explore curated art prints selected for distinctive homes and considered interiors.
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The Eye, Like a Strange Balloon Moves Towards Infinity - Odilon RedonPrint · Framed · Canvas
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Parsifal - Odilon RedonPrint
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Bouquet of Flowers - Odilon RedonPrint · Framed
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Butterflies - Odilon RedonPrint · Framed
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Vase of Flowers - Odilon RedonPrint · Framed
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Un étrange jongleur - Odilon RedonPrint · Framed
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Oannes - Odilon RedonPrint
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The Old Woman: What are you afraid of? A wide black hole! Perhaps it is a void? (plate 19) - Odilon RedonPrint
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Pepper and Lemon on a White Tablecloth - Odilon RedonPrint
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Buddha Walking among the Flowers - Odilon RedonPrint
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Swamp Flower (A Human Head) - Odilon RedonPrint
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Devil take a head in the air - Odilon RedonPrint
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Oannès (Plate 14) - Odilon RedonPrint
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Pegasus - Odilon RedonPrint
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The Accused - Odilon RedonPrint
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Two Trees - Odilon RedonPrint
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Geraniums - Odilon RedonPrint
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Bouquet in a Chinese Vase - Odilon RedonPrint
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The Chariot of Apollo - Odilon RedonPrint
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Head Framed by Black Hair - Odilon RedonPrint
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Springend paard op wolken (Pegasus) - Odilon RedonPrint
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The Head of Saint John the Baptist on a Pillar - Odilon RedonPrint
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Le Noyé - Odilon RedonPrint
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Christus - Odilon RedonPrint
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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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