C’etait un voile, un empriente (It was a veil, an imprint) (1891)

Technique: Giclée quality print
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The enigmatic allure of Odilon Redon's lithograph, "C’était un voile, une empreinte" (It was a veil, an imprint), invites the viewer into a world of subdued mystery and introspection. Crafted in 1891, this artwork exemplifies Redon's distinct ability to fuse the abstract with the tangible through masterful lithography.At the heart of the composition is a hauntingly vague visage, appearing almost ghostlike against a shaded, textured background. The face is framed within a darker, slightly irregular border, enhancing the sense of viewing a fleeting moment captured in perpetuity. The central figure's expression is serene yet inscrutable, with eyes that seem to gaze deeply outwards, as if reaching into the soul of the beholder.Redon's use of chiaroscuro intensifies the dramatic impact of the piece, with the interplay of light and dark areas creating a delicate balance that speaks to the title of the work. "It was a veil, an imprint" suggests themes of temporary presence and the lasting impact left behind, symbolic perhaps of memory, spirit, or even the artistic process itself.This lithograph is not merely a presentation of a figure, but a profound exploration of the ephemeral and eternal elements of human existence. Redon's artistry beckons the viewer to ponder what might lie behind the veil—the unseen and unknown aspects of life and the legacy they leave behind.Odilon Redon’s work remains an invitation to look beyond the visible, into the depths of psychological and metaphysical speculation.

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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.