Et moi, Jean, Je vis la sainte cite, la nouvelle Jerusalem, qui descendait du ciel, d’aupres de dieu (1899)

Technique: Giclée quality print
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More about this artwork

Welcome to our exploration of Odilon Redon's intriguing artwork, "Et moi, Jean, Je vis la sainte cité, la nouvelle Jérusalem, qui descendait du ciel, d’auprès de dieu" (1899). This captivating lithograph translates to "And I, John, saw the holy city, the new Jerusalem, coming down from heaven from God," a line from the Book of Revelation which vividly captures the essence of Redon's vision in this piece.In this artwork, Redon depicts the celestial city of the New Jerusalem descending amidst a dramatic and ethereal landscape. The city, detailed with classical architectural elements, floats in a softly textured sky that seems to pulse with radiant light. Below, the dark, almost foreboding cliffs serve as a stark contrast to the illuminated city above, perhaps symbolizing the human realm or the mundane world below.This lithograph is a prime example of Redon's ability to blend the real with the mystical, the seen with the unseen. His use of light and shadow, along with the meticulous yet dreamlike rendering of the holy city, invites viewers into a contemplative space where spiritual reflections and earthly realities merge.This piece is not just a visual representation but an invitation to ponder the mystical and often ineffable mysteries of the sacred and the divine.

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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.