Below, I saw the vaporous contours of a human form (1896)

Technique: Giclée quality print
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More about this artwork

Dive into the ethereal and haunting depiction crafted by the acclaimed Symbolist painter, Odilon Redon, in his masterpiece titled "Below, I Saw the Vaporous Contours of a Human Form" (1896). This enigmatic work captures the imaginative essence synonymous with Redon’s oeuvre, which often explores the realm of the abstract and the subconscious.In this composition, viewers encounter a stark, dream-like scene featuring two primary elements that draw the eye—an indistinct, ghostly figure of a woman and an ominous, shadowy form with glaring eyes. The human figure, rendered almost translucent, stands to the left of the canvas, its form gently illuminated yet distinctly ephemeral, suggesting perhaps a being from another dimension or a memory fading into the mists of the mind. Adjacent to this figure lies a table, starkly outlined, which adds a sense of grounding to the otherwise fluid scene.Dominating the background is a massive, shadow-like creature with piercing eyes. This entity looms over the scene, its eyes glowing with a spectral intensity that commands both attention and introspection. This contrast between the evanescent human form and the domineering, almost tangible presence of the dark figure adds a layer of intrigue and tension to the artwork.Redon’s technique, with its use of blurred, indistinct lines and undefined forms, powerfully conveys a sense of the ineffable and the mysterious. His use of monochromatic shades instills a timeless quality, while also focusing the viewer’s attention on textures and contrasts rather than colors.

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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.