And the devil that deceived them was cast into the lake of fire, where the beast and the false prophets are... - Odilon Redon
Archival giclée
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Description
A haunting lithograph from Odilon Redon's 1899 Apocalypse series, exploring themes of shadow and introspection through masterful use of deep, monochromatic tones.
This lithograph is part of the Apocalypse de Saint-Jean, a series of twelve plates produced by Odilon Redon in 1899. Redon, a French artist associated with the Symbolist movement, focused on the exploration of the subconscious and the dreamlike states of the human mind. His work often moved away from the objective representation of the physical world, favouring instead the evocative power of shadow and light. In this specific plate, Redon interprets a passage from the Book of Revelation. The composition is dominated by deep, velvety blacks achieved through the lithographic process, a medium Redon referred to as his noirs. The figure emerges from a dense, atmospheric darkness, with features rendered in soft, charcoal-like strokes. The expression is ambiguous, suggesting a state of contemplation or resignation rather than overt suffering. The swirling, textured background creates a sense of movement, as if the figure is suspended within a void or a turbulent environment. Redon utilised the technical possibilities of lithography to create a wide range of grey tones, from the stark white of the paper to the deepest blacks. This contrast allows for a psychological depth that defines his graphic work. By focusing on the internal experience of the subject, Redon invites the viewer to engage with the image on an emotional level. The lack of rigid boundaries between the figure and the surrounding space contributes to the ethereal quality of the print. This work demonstrates the artist's ability to transform biblical narrative into a personal, introspective vision, characteristic of his late nineteenth-century output.
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.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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 the devil that deceived them was cast into the lake of fire, where the beast and the false prophets are... - 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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