Puis l’ange prit l’encensoir (And the angel took the censer) (1899)

Technique: Giclée quality print
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More about this artwork

Gaze into the mystical realms of Symbolism as you explore Odilon Redon's mesmerizing lithograph, "Puis l'ange prit l'encensoir" (And the angel took the censer), created in 1899. This artistic work invites the viewer into a profoundly spiritual and otherworldly experience as depicted through Redon’s unique visual language.The composition of the painting centers on an ethereal angelic figure, dominating the frame with an aura of sanctity and grace. The angel is clad in a long, flowing garment that originates from beneath its large and meticulously drawn wings, which spread expansively, filling almost half of the visual space. The figure's facial expression is serene and contemplative, embodying a sense of divine tranquility. In the angel's delicate grasp is a censer, from which smoke billows upwards, mingling with the dark, nebulous forms that surround the figure, adding to the overall mysterious and mystical ambiance.Redon’s use of soft, sketch-like lines contrasts with areas of deeper, shadowy tones, creating a dramatic interplay of light and darkness. This technique emphasizes the spiritual theme of the lithograph, reflecting themes of revelation and the metaphysical bridged between the celestial and the earthly."Puis l'ange prit l'encensoir" stands as a poignant illustration of Redon’s capacity to blend the visible with the visionary, making tangible the ineffable experiences of the spiritual world. This artwork resonates deeply with those who seek to explore the symbolic depths of human consciousness and the unseen aspects of reality.

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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.