Le Jour (Day) (1891)

Technique: Giclée quality print
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More about this artwork

"Le Jour" (1891) by Odilon Redon is a striking lithograph that captures a moment of quiet introspection through the depiction of a simple window. This piece is marked by Redon's characteristic blend of the real and the imaginary, weaving together elements of light and shadow in a way that seems both dreamlike and tangible.In the image, we see a square window filled with panes that segment the view into parts, each pane a canvas unto itself. A central tree or plant stretching vertically divides the window into symmetrical halves, suggesting growth and vitality that penetrates even the structured, confined space of the window frame. What appears to be delicate foliage or branches float softly across the view, while the texture of the window and walls around it are rendered in soft gradients of light, giving an ethereal glow that suggests the emerging dawn.The use of chiaroscuro in "Le Jour" is especially noteworthy. Redon masterfully plays with light and dark to create depth and brings an almost mystical quality to everyday scenes. This work invites viewers to pause and contemplate the beauty and serenity of a new day, hinting at the transformative power of nature and light even through the barrier of glass.Thus, "Le Jour" offers more than just a view through a window; it presents a meditation on the interaction between the natural world and the spaces we inhabit, and the continual presence of beauty and growth amidst the structures of our lives.

Delivery

Reproductions are made to order and take 5 to 7 working days.

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Returns

Yes, reproductions can be returned.

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We do not refund shipping expenses.

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.