And I, John, Saw the Holy City, New Jerusalem, Coming Down from God and out of Heaven - Odilon Redon
Archival giclée
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Description
A haunting lithograph from Odilon Redon's 1899 Apocalypse series, depicting a celestial vision through masterful use of light and shadow.
This lithograph is part of the Apocalypse de Saint Jean series, a collection of twelve prints produced by Odilon Redon in 1899. The work depicts a visionary scene from the Book of Revelation, where the celestial city descends from the heavens. Redon, a central figure in the Symbolist movement, often explored themes of dreams, the subconscious, and religious mysticism. His approach to the subject matter avoids literal representation, opting instead for an atmospheric, ethereal quality that suggests the supernatural nature of the event. The composition is divided into two distinct zones. In the upper portion, the architectural form of the New Jerusalem appears as a ghostly, luminous structure, rendered with delicate, light-filled lines that contrast with the surrounding darkness. Below, a heavy, dark mass dominates the foreground, grounding the image and providing a sense of scale against the celestial apparition. The use of lithography allows Redon to manipulate light and shadow with great precision, creating a grainy, textured surface that enhances the dreamlike quality of the print. Redon was known for his 'noirs', a series of charcoal drawings and lithographs that utilised a wide range of black tones to evoke emotional responses. This print exemplifies his mastery of the medium, as he balances deep, velvety blacks with subtle grey washes and white highlights. The work does not attempt to document the biblical narrative in a traditional sense, but rather captures the psychological impact of the vision. By focusing on the contrast between the solid, earthly foreground and the intangible, radiant city above, Redon invites the viewer to contemplate the boundary between the physical world and the spiritual realm. The inclusion of the French text at the base of the print provides a direct link to the source material, anchoring the abstract visual elements within the context of the biblical text.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
And I, John, Saw the Holy City, New Jerusalem, Coming Down from God and out of Heaven - Odilon Redon
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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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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