Droom (Dream) - Odilon Redon
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Beskrivning
A haunting Symbolist etching by Odilon Redon, featuring ethereal figures and floating faces emerging from a dark, atmospheric void.
Odilon Redon, a central figure in the Symbolist movement, produced this etching during a period when he focused heavily on the exploration of the subconscious mind. The work, titled Droom (Dream), captures the characteristic ambiguity and dreamlike quality associated with his black-and-white graphic output. Redon often referred to these works as his 'noirs', a collection of charcoal drawings and lithographs that prioritised internal vision over external reality.
The composition features a series of floating, disembodied heads and spectral figures emerging from a dark, textured background. The technique relies on dense cross-hatching and varied line weights to create a sense of atmospheric depth. A solitary standing figure occupies the lower left, while the upper portion of the print is populated by celestial or ethereal faces that appear to drift through a void. The contrast between the stark white paper and the deep, ink-heavy areas creates a sense of mystery, typical of Redon's interest in the irrational and the psychological.
Redon's approach to printmaking allowed him to manipulate light and shadow with precision, resulting in images that feel both tangible and otherworldly. By avoiding clear narrative structures, he invites the viewer to interpret the scene through their own subjective experience. This piece reflects his fascination with the transition between wakefulness and sleep, a theme he returned to throughout his career. The lack of a defined horizon or physical setting reinforces the notion that the scene exists entirely within the realm of thought. As a master of the etching medium, Redon utilised the physical properties of the plate to generate a range of tones, from the deepest blacks to the most delicate grey washes, ensuring the image maintains its haunting quality.
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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
Droom (Dream) - 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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