Cavalier Galopant (Galloping Horseman) (1866)

Technique: Giclée quality print
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More about this artwork

Odilon Redon's engraving "Cavalier Galopant (Galloping Horseman)" from 1866 captures a deeply atmospheric scene drawn with dramatic contrasts and expressive lines typical of his early graphic works. At its heart, the piece depicts a solitary figure on horseback, galloping fiercely through a rugged landscape that merges with swirls of dark and light, almost as if the horse and rider are moving through a storm or emerging from a dream.The background features a dynamic sky, where swirling clouds suggest movement and tension. This intricacy in the sky patterns stands in sharp contrast to the darker, more roughly hewn textures of the foreground, creating a sense of depth and rapid motion. The trees and terrain are rendered with vigorous, almost chaotic strokes, enhancing the feeling of urgency and momentum inherent in the subject matter.On the bottom left corner, Redon cleverly shadows the figure, perhaps to emphasize the transient, fleeting nature of the moment captured. The darkness of the landscape and the swirls in the sky create a vivid interplay of light and shadow, drawing the viewer's eye across the composition and back to the figure of the horseman, reinforcing the artwork’s dynamism.This engraving epitomizes Redon's ability to blend reality with the fantastical, and the physical with the psychological. It invites viewers into a world of motion and emotion, perfectly encapsulating the sensation of galloping through an evocative and almost mystical landscape. This piece is not just a representation of physical motion, but also an exploration of the inner whirlwinds of the human spirit.

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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.