Et le diable qui les seduisait, fut jete dans l’etang de feu et de soufre, ou es la bete et le faux prophete (1899)

Technique: Giclée quality print
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More about this artwork

Welcome to a riveting glimpse into the mystical and enigmatic world of Odilon Redon. We are delighted to exhibit "Et le diable qui les seduisait, fut jeté dans l’étang de feu et de soufre, où est la bête et le faux prophète" (1899), a compelling work that encapsulates the unique blend of darkness and light characteristic of Redon's oeuvre.This lithograph is a visual exploration of themes derived from the biblical Revelation, depicting the fate of the deceiving devil cast into a lake of fire and sulfur, where the beast and the false prophet are also condemned. The central figure in the piece, rendered with haunting detail and introspective emotion, is enveloped by sweeping, swirling darkness that seems almost tactile. The stark contrasts and the fluidity of the lines reflect the turmoil and intensity of the narrative.Redon's mastery in creating a vortex of spiritual and existential sentiment is evident. In this image, the viewer is drawn into a profound dialogue with the forces of good and evil, compelled to confront the depths of their own psyche. This lithograph is not just an artwork; it's a journey into the realms of myth and the human condition, asking us to ponder the complexity of redemption and damnation.

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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.