Swamp Flower (A Human Head) - Odilon Redon
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Beskrivning
A haunting charcoal study by Odilon Redon, depicting a human head emerging from a botanical form within a dark, atmospheric setting.
Odilon Redon, a central figure in the Symbolist movement, produced this work during his period of 'noirs', a series of charcoal drawings and lithographs defined by their exploration of the subconscious and the dream state. In this composition, a human head emerges from the centre of a botanical form, resembling a flower blooming within a dark, murky environment. The head is illuminated by a soft, ethereal glow, which contrasts with the surrounding shadows of the swamp.
Redon rejected the objective observation of the natural world, preferring to depict internal visions and psychological states. The ambiguity of the subject, where the organic and the human merge, invites interpretation rather than providing a literal narrative. The texture of the charcoal allows for subtle gradations of tone, creating a sense of atmosphere that feels both heavy and weightless. The figure possesses a melancholic expression, typical of Redon's figures from this era, which often seem detached from reality.
This work demonstrates the artist's technical mastery over light and shadow. By focusing on the contrast between the luminous face and the deep, murky background, Redon directs the viewer's attention to the psychological presence of the subject. The botanical element, while recognisable as a stem or leaf, is abstracted to serve the mood of the piece. This print captures the granular quality of the original charcoal, preserving the delicate transitions that define Redon's unique aesthetic. It is an example of late nineteenth-century French Symbolism, reflecting an interest in the irrational and the mysterious aspects of human perception.
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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
Swamp Flower (A Human Head) - 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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