Il y eut des luttes et des vaines victoires (There were struggles and vain victories) (1883)

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This evocative lithograph by Odilon Redon, titled "Il y eut des luttes et des vaines victoires" (There were struggles and vain victories), portrays a powerful and surreal scene. The artwork is a blend of both literal and allegorical elements that pulls viewers into a narrative of fight and futility.At the center of the scene is a humanoid figure who is part centaur, merging elements of the human and the bestial. This hybrid form is symbolic, often representing the internal conflict between the civilized side of humanity and its wilder, primitive instincts. The figure wields a rod or weapon raised high in one hand, suggesting a moment of intense action or defiance.Beneath the centaur, a large, serpentine creature lies defeated. Its elongated, twisting body and the positioning suggest a struggle that has just concluded. The snake could symbolize deception or evil, often found in traditional stories and myths as a figure to be conquered.The stark, unembellished background in the lithograph focuses all attention on the dramatic interplay between the characters. Redon's use of light and shade beautifully highlights the muscular tension of the figures and adds a tactile realism to the surreal composition.By combining elements of the real with the fantastical, Redon invites viewers to reflect on the struggles within their own lives and perhaps, the often elusive nature of victory.

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Odilon Redon was a French symbolist painter, printmaker, draughtsman and pastellist. Early in his career, both before and after fighting in the Franco-Prussian War, he worked almost exclusively in charcoal and lithography, works referred to as noirs. 

During the 1890s he began working in pastel and oils, which quickly became his favourite medium, abandoning his previous style of noirs completely after 1900. He also developed a keen interest in Hindu and Budhist religion and culture, which increasingly showed in his work.

He is perhaps best known today for the "dreamlike" paintings created in the first decade of the 20th century, which were heavily inspired by Japanese art and which, while continuing to take inspiration from nature, heavily flirted with abstraction. His work is considered a precursor to both Dadaism and Surrealism.