The Head of Saint John the Baptist on a Pillar - Odilon Redon
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Beskrivning
A haunting Symbolist work by Odilon Redon, featuring the head of Saint John the Baptist rendered in soft, ethereal pastel tones.
Odilon Redon, a central figure in the Symbolist movement, frequently explored themes of mysticism and the subconscious. This work, depicting the head of Saint John the Baptist resting upon a pillar, demonstrates his characteristic use of soft, ethereal pastel tones to create a dreamlike atmosphere. The subject matter draws from biblical narrative, yet Redon removes the scene from a traditional historical context, placing the severed head in a void that suggests a spiritual or psychological state rather than a physical location.
The composition is stark and vertical. The pillar acts as a rigid anchor, contrasting with the delicate, luminous halo surrounding the saint's head. Redon employs a muted palette, using subtle shifts in grey, blue, and gold to evoke a sense of quiet contemplation. The inclusion of small, winged forms near the head adds an enigmatic quality, typical of the artist's interest in the intersection of the real and the imagined. His technique, which relies on the soft texture of pastel, allows for a blurring of edges that enhances the otherworldly nature of the image.
Redon moved away from the objective observation favoured by his contemporaries, preferring to represent internal visions. This piece avoids the gruesome nature often associated with the martyrdom of John the Baptist, focusing instead on the serenity of the expression. The work invites the viewer to look beyond the surface, engaging with the ambiguity of the symbols presented. By stripping away narrative clutter, Redon forces a direct encounter with the image, allowing the viewer to interpret the quiet, haunting presence of the subject in their own way.
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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
The Head of Saint John the Baptist on a Pillar - 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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