Et la-bas l’idole astrale, l’Apotheose (And beyond, the star idol, the apotheosis) (1891)

Technique: Giclée quality print
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More about this artwork

Odilon Redon, a pivotal figure in the Symbolist movement, brilliantly captivates viewers with his unique vision in the lithograph "Et la-bas l’idole astrale, l’Apotheose" (1891). This piece, whose title translates to "And beyond, the star idol, the apotheosis," is a spellbinding exploration of the ethereal and transcendent.Centered in the composition is a shrouded figure, standing solemnly with a serene yet enigmatic expression. The figure, possibly a representation of a spiritual idol or a transient being, holds a staff, signifying power or guidance. This central character is enveloped in a dark, sweeping cloak, invoking a sense of mysticism and otherworldly presence.The most striking element of this lithograph is the spherical framing, which creates the illusion of peering through a lens or portal, drawing the viewer into a vortex of profound depths. The textural details and contrast between light and shadow across this spherical boundary amplify the feeling of peering into another dimension — one that is both foreboding and captivating.Redon’s mastery in using darkness and light to evoke emotion is evident as the image oscillates between the tangible and the abstract, inviting interpretations that delve into personal and universal metaphors. The entire composition serves as a visual meditation on the themes of spiritual ascension and the sublime, challenging the viewer to look beyond the mere physical world."Et la-bas l’idole astrale, l’Apotheose" is a prime example of Redon’s ability to transcend traditional artistic boundaries and venture into the realm of psychological and metaphysical exploration.

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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.