Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
A Strange Juggler - Odilon Redon
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£37.00 GBP
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£37.00 GBP
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Beschrijving
A haunting lithograph from Odilon Redon's 1889 series, 'Dans le rêve', capturing a surreal, dreamlike figure rendered in deep, atmospheric tones.
A Strange Juggler (Un étrange jongleur) is a lithograph by the French artist Odilon Redon, produced in 1889. It belongs to the series titled 'Dans le rêve' (In the Dream), a collection of ten lithographs that explore the boundaries between reality and the subconscious. Redon was a central figure in the Symbolist movement, known for his focus on internal states rather than external observation.
The composition features a central figure draped in dark, heavy fabric, clutching an object that obscures part of their face. The eyes of the juggler are wide and fixed, conveying a sense of unease or intense concentration. Behind the figure, a large, circular form dominates the background, while a dark, radiating sun-like shape occupies the upper left corner. A small, ghostly face appears to float to the left of the main subject, adding to the dreamlike quality of the scene.
Redon utilised the medium of lithography to achieve a wide range of tonal values, from deep, velvety blacks to soft, ethereal greys. This technique allows for the creation of shadows that seem to swallow the forms, contributing to the mysterious atmosphere. The work avoids clear narrative explanation, inviting the viewer to interpret the imagery through their own psychological lens. The absence of a defined setting removes the subject from any specific time or place, reinforcing the theme of the dream world. This print demonstrates Redon's mastery of light and shadow, which he famously described as his 'noirs'. By focusing on the suggestive power of the image, Redon moved away from the literal representation of his contemporaries, favouring instead the exploration of the human psyche and the irrational nature of dreams.
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Productie
Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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- Lijsten in zwart, naturel hout, donker hout of wit
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Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
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A Strange Juggler - Odilon Redon
Normale prijs
Vanaf £37.00 GBP
Actieprijs
Vanaf £37.00 GBP
Normale prijs
Fine Art Poster / Small Square (30x30 cm) / -
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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Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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