At the Horizon, the Angel of Certitudes - Odilon Redon
Archival giclée
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Description
A haunting lithograph by Symbolist artist Odilon Redon, featuring a celestial eye and an angel emerging from a dark, atmospheric horizon.
This lithograph by Odilon Redon, titled 'A l'horizon, l'ange des certitudes, et dans le ciel sombre un regard interrogateur', belongs to the artist's 'noirs' period. During this time, Redon focused almost exclusively on charcoal drawings and lithographic prints, exploring a monochromatic world of shadows and light. The work features a vast, dark expanse of sky and sea, punctuated by two primary elements: a luminous, disembodied eye floating like a celestial body, and the head of an angel emerging from the horizon line. Redon was a central figure in the Symbolist movement, which sought to represent internal states of mind rather than external reality. His imagery often draws from dreams, subconscious fears, and literary themes. The eye, a recurring motif in his work, suggests a watchful presence or an omniscient observer, while the angel provides a counterpoint of human-like form. The contrast between the deep, velvety blacks of the lithographic ink and the stark white of the paper creates a sense of atmospheric depth and mystery. The texture of the print is achieved through meticulous application of the lithographic crayon, allowing for subtle gradations of tone that define the nebulous forms. This piece is part of a series of lithographs that demonstrate Redon's technical mastery of the medium. By avoiding colour, he forces the viewer to engage with the composition and the psychological weight of the subject matter. The ambiguity of the scene, where the boundary between the physical world and the metaphysical realm is blurred, is characteristic of his approach to art. It invites contemplation without providing a singular narrative, allowing the viewer to project their own interpretations onto the enigmatic figures.
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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.
At the Horizon, the Angel of Certitudes - Odilon Redon
Our Features
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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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