Pegasus - Odilon Redon
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Beskrivning
A dreamlike depiction of the mythical winged horse Pegasus, rendered in soft, luminous pastel by the French Symbolist artist Odilon Redon.
Odilon Redon, a central figure in the Symbolist movement, frequently turned to classical mythology to explore the boundaries between reality and the subconscious. In this work, the mythical winged horse Pegasus stands atop a craggy, dark rock formation. The creature is rendered in soft, ethereal tones, contrasting with the rugged texture of the cliffside. Redon employs his characteristic pastel technique, building up layers of colour to create a dreamlike atmosphere.
The background is a wash of atmospheric blue and green, suggesting a sky that is both celestial and otherworldly. The horse itself appears weightless, its wings partially unfurled as if ready to ascend. Unlike the academic depictions of the era, Redon focuses on the psychological presence of the subject rather than anatomical precision. The application of pastel allows for a luminous quality, particularly in the wings, which seem to catch a light source not present in the physical environment of the cliff.
Redon moved away from the objective observation favoured by his contemporaries, preferring to evoke internal states through colour and form. This piece demonstrates his ability to transform a familiar mythological motif into a personal vision. The texture of the pastel is visible throughout, from the dense, dark strokes defining the rock to the lighter, more delicate marks that compose the horse and the surrounding air. By placing the figure in an ambiguous, non-specific space, Redon invites the viewer to engage with the image as a manifestation of imagination. The work remains a clear example of his transition from the monochromatic 'noirs' of his early career to the luminous, colour-saturated compositions of his later years.
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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
Pegasus - 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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