Vrouw en dobbelstenen - Odilon Redon
Archival giclée
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Description
A haunting Symbolist lithograph by Odilon Redon, featuring a woman in profile alongside geometric dice, rendered with atmospheric, dreamlike textures.
This lithograph by Odilon Redon presents a characteristic exploration of the dreamlike and the enigmatic. Redon, a central figure in the Symbolist movement, often moved away from the objective representation of the physical world to focus on the internal life of the imagination. In this work, the artist employs a delicate, atmospheric use of lithographic crayon to create soft transitions between light and shadow. The composition features a woman in profile, her gaze directed away from the viewer, suggesting a state of introspection or reverie. The inclusion of dice, rendered with a geometric clarity that contrasts with the ethereal quality of the figure, introduces an element of chance or fate. Redon frequently incorporated such symbolic objects into his prints to evoke a sense of mystery. The presence of a secondary, ghost-like profile in the background further disrupts traditional spatial logic, inviting the viewer to interpret the scene as a psychological projection rather than a literal event. The texture of the paper remains visible, adding to the tactile quality of the print. Redon's technical mastery of the lithographic medium allowed him to achieve a range of greys that define his unique visual language. By avoiding rigid outlines, he creates a sense of fluidity that aligns with the Symbolist interest in the subconscious. This print is an example of his ability to imbue everyday subjects with a sense of the uncanny. The work reflects the artist's interest in the intersection of reality and fantasy, a theme that occupied much of his career. Collectors of Symbolist art will recognise the distinct, haunting quality that defines Redon's graphic output, making this piece a representative example of his late nineteenth-century work.
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.
Vrouw en dobbelstenen - 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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