Bouquet in a Chinese Vase - Odilon Redon
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A delicate still life by French Symbolist Odilon Redon, featuring a bouquet of wildflowers in a ceramic vase against a warm, terracotta background.
Odilon Redon, a central figure in the Symbolist movement, shifted his focus during his later years from the dark, charcoal-based 'noirs' of his early career to a luminous exploration of colour. This work, painted circa 1912, demonstrates his mastery of oil paint, where the application of pigment creates a dreamlike atmosphere rather than a strict representation of reality. The composition features a collection of wildflowers arranged in a pale, ceramic vessel, set against a flat, terracotta-toned background that pushes the floral arrangement forward.
Redon treats the flowers with a delicate touch, allowing the petals and stems to emerge from the canvas with a soft, almost ethereal quality. The Chinese vase, decorated with subtle motifs, provides a neutral anchor for the varied hues of the bouquet, which includes poppies, daisies, and other field flowers. Unlike the rigid still lifes of his contemporaries, Redon prioritises the emotional resonance of the colour palette. The contrast between the muted, earthy background and the brighter, saturated tones of the blossoms creates a sense of quiet suspension.
This painting reflects the artist's interest in the subjective experience of nature. By removing the flowers from a specific setting, Redon invites the viewer to consider the arrangement as an object of contemplation. The brushwork is varied, ranging from thin, translucent layers to thicker, more textured applications that define the form of the individual blooms. This piece is representative of the late period of his career, where he embraced a more decorative and harmonious approach to his subjects, moving away from the macabre themes that defined his earlier work. It remains a clear example of his ability to transform a traditional subject into a personal, poetic vision.
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Care and materials
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
- Multiple sizes and framing options available
- 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
Bouquet in a Chinese Vase - Odilon Redon
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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