Odilon Redon 'Centaur Reading', France, 1880, Reproduction 200gsm A3 Vintage Classic Art Poster
n interesting collection of Symbolism can be found in the Odilon Redon Collection, faithfully reproduced by World of Art and printed on quality 200gsm-thick four-star Green Star eco-friendly paper with a soft-satin low-sheen finish reducing gloss effect allowing for a wider perspective of the image from different angles. Green star system approved paper is a universally recognised eco-responsibility paper based on the origin of the fibre and the manufacturing process. All our posters are standard A3 size and look beautiful with or without frames but if you're thinking of framing then a standard A3 frame will fit perfectly. All posters come with a thin white border
Please note before ordering all our posters are reproduction posters
Standard A3 Size
16.53" x 11.69"
42cm x 29.7cm
420mm x 297mm
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Odilon Redon (1840-1916) was a French symbolist painter, printmaker, draughtsman and pastellist working almost exclusively in charcoal and lithography. He called his visionary works, conceived in shades of black, his noirs. It was not until 1878 that his work gained any recognition with Guardian Spirit of the Waters; he published his first album of lithographs, titled Dans le Rêve in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled À rebours (Against Nature). The story featured a decadent aristocrat who collected Redon's drawings. In the 1890s pastel and oils became his favored media; he produced no more noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruel's. Redon had a keen interest in Hindu and Buddhist religion and culture. The figure of the Buddha increasingly showed in his work. Influences of Japonism blended into his art, such as the painting The Death of the Buddha around 1899, The Buddha in 1906, Jacob and the Angel in 1905, and Vase with Japanese warrior in 1905, amongst many others. Redon's work represents an exploration of his internal feelings and psyche. He himself wanted to "place the visible at the service of the invisible"; thus, although his work seems filled with strange beings and grotesque dichotomies, his aim was to represent pictorially the ghosts of his own mind. As he himself said; "I have often, as an exercise and as a sustenance, painted before an object down to the smallest accidents of its visual appearance; but the day left me sad and with an unsatisfied thirst. The next day I let the other source run, that of imagination, through the recollection of the forms and I was then reassured and appeased."