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.
Cover for Hommage à Goya - Odilon Redon
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£28.00 GBP
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£28.00 GBP
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Beschrijving
The original cover design for Odilon Redon's 1885 portfolio, Hommage à Goya, featuring elegant typography and historical printer details.
This print serves as the cover for the portfolio Hommage à Goya, a collection of six lithographs produced by Odilon Redon in 1885. The work demonstrates the artist's engagement with the legacy of Francisco Goya, whose dark, imaginative prints influenced Redon's own exploration of the subconscious and the fantastic. Unlike the dreamlike, shadowy imagery found within the portfolio, this cover is a study in clean, formal typography and balanced layout.
The composition is centred, featuring a combination of gothic-style lettering for the word Hommage and a fluid, cursive script for the name Goya. The text is printed on a neutral, grey-toned paper, which provides a subtle background for the black ink. Below the main title, the artist includes details regarding the edition size, noting that only fifty copies were produced. At the base, a small rectangular stamp identifies the printer, L. Dumont of Paris, adding a layer of historical authenticity to the document.
Redon is primarily known for his charcoal drawings and lithographs, which he referred to as his noirs. While this specific piece is purely typographic, it functions as the threshold to his broader artistic project of the period. It reflects the meticulous care he applied to the presentation of his work, ensuring that the packaging of his portfolios was as considered as the prints contained inside. The piece is a fine example of nineteenth-century graphic design, showing how artists of the Symbolist movement approached the presentation of their limited-edition publications. It remains a piece of interest for those who study the intersection of printmaking, typography, and the history of the French avant-garde.
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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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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)
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Cover for Hommage à Goya - Odilon Redon
Normale prijs
Vanaf £28.00 GBP
Actieprijs
Vanaf £28.00 GBP
Normale prijs
Fine Art Poster / A4 (21x29.7 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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