And In the Very Disk of the Sun Shines the Face of Jesus Christ - Odilon Redon
Archival giclée
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Description
A striking Symbolist lithograph by Odilon Redon, featuring the face of Christ emerging from a radiant, textured sun.
This lithograph by Odilon Redon belongs to his series titled 'La Tentation de Saint Antoine' (The Temptation of Saint Anthony). Redon, a central figure in the Symbolist movement, often explored themes that bridged the gap between the physical world and the realm of dreams or spiritual visions. His work is characterised by a mastery of black and white, which he referred to as his 'noirs'. The image presents a singular, haunting vision: the face of Christ emerging from the centre of a radiant, sun-like orb. Redon employs a dense, scratchy application of lithographic ink to create the surrounding corona, which contrasts sharply with the delicate, almost ethereal rendering of the facial features. The stark black background pushes the luminous circle forward, creating a sense of depth and mystery. The lines radiating from the central disk suggest an intense, pulsating energy, typical of Redon's ability to imbue inanimate objects with a sense of consciousness or supernatural presence. Unlike the more literal religious depictions of his contemporaries, Redon focuses on the psychological and atmospheric impact of the subject. The face itself is rendered with soft, subtle gradations of tone, providing a quiet anchor amidst the chaotic, energetic marks of the sun's rays. This print demonstrates Redon's technical skill in lithography, where he manipulated the stone to achieve textures ranging from deep, velvety blacks to fine, gossamer-like lines. It is a work that invites contemplation, relying on the viewer's own imagination to complete the narrative suggested by the title. The composition remains one of the most recognisable examples of his late nineteenth-century graphic output, reflecting his interest in the intersection of mysticism and visual art.
Return policy
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 In the Very Disk of the Sun Shines the Face of Jesus Christ - 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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