Buddha Walking among the Flowers - Odilon Redon
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Beskrivning
A dreamlike Symbolist painting by Odilon Redon, depicting the Buddha in a luminous, flower-filled garden.
Odilon Redon, a central figure in the Symbolist movement, produced this work during his later period, when his palette shifted from the monochromatic charcoal drawings of his youth to a luminous, dreamlike use of colour. The painting depicts the Buddha in a meditative state, positioned centrally within a dense, atmospheric environment of flora. Redon employs a soft, diffused application of paint, which creates a sense of ethereal suspension rather than physical reality. The figure of the Buddha is rendered with gentle, simplified forms, allowing the surrounding environment to merge with his presence.
The composition relies on a balance between the static, upright figure and the surrounding organic shapes. Redon uses light to define the space, with golden and amber tones suggesting a spiritual glow that emanates from the subject. The flowers, while identifiable as botanical forms, are treated with a painterly abstraction that prioritises mood over precise detail. This approach aligns with the Symbolist aim to represent internal states of mind rather than external observations of the natural world.
Redon was fascinated by Eastern philosophy and mysticism, which informed his choice of subject matter in the early twentieth century. By placing the Buddha within this lush, almost otherworldly garden, he invites the viewer to contemplate themes of enlightenment and inner peace. The surface of the canvas displays a textured quality, characteristic of his mature oil technique, where layers of pigment are built up to achieve a soft, glowing effect. This work demonstrates his ability to translate abstract concepts into visual form, maintaining a sense of mystery that remains consistent throughout his career. The absence of sharp edges or rigid perspective contributes to the overall feeling of quietude, making the image a study in stillness and spiritual reflection.
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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
Buddha Walking among the Flowers - 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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