Horsemen in Combat (Lutte de cavaliers) - Odilon Redon
Archival giclée
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Description
An early etching by Odilon Redon, depicting two figures on horseback in a rugged, shadowed landscape, showcasing the artist's mastery of line and tone.
This etching by Odilon Redon, titled Horsemen in Combat (Lutte de cavaliers), offers a glimpse into the early graphic work of an artist better known for his later dreamlike, monochromatic lithographs. Created around 1865, this piece demonstrates Redon's technical engagement with the medium of etching during his formative years. The composition features two figures on horseback engaged in a struggle, set against a rugged, shadowed terrain that suggests a desolate or mountainous environment. Redon employs a dense network of cross-hatching and varied line weights to construct the forms of the horses and their riders. The heavy application of ink in the background creates a sense of atmospheric pressure, pushing the figures into the foreground. The treatment of the sky, rendered with horizontal, rhythmic lines, contrasts with the more chaotic, jagged marks used to define the rocky ground. This approach to texture and light reflects the influence of earlier printmakers, such as Rembrandt and Rodolphe Bresdin, who were essential to Redon's development as a draughtsman. Unlike the ethereal, often surreal subjects that define his later career, this work remains grounded in a more traditional narrative style. The focus is on the physical tension of the encounter and the interplay of shadow across the scene. The print captures a moment of conflict, yet the ambiguity of the setting and the obscured features of the riders lend the image a sense of mystery. It provides a clear view into the artist's early mastery of light and shadow, demonstrating his ability to create mood through the manipulation of ink and plate. This fine art print is a reproduction of the original etching, maintaining the tonal depth and textural quality of the artist's initial impression.
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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.
Horsemen in Combat (Lutte de cavaliers) - 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
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- 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
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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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