A Veil, a Printed Image (1891)

Technique: Giclée quality print
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Odilon Redon, renowned for his unique blend of the mystical and the visible, presents an evocative lithograph titled "A Veil, a Printed Image" from 1891. Redon’s art poetically engages with themes of the subconscious and intangible, a pioneering approach that distinguished him within the Symbolist movement.This intriguing work features a haunting visage appearing almost suspended in a veil-like haze within the frame. The central figure, delicate yet expressive, floats amidst an indistinct, shadowy background. Redon employs soft, fluid lines to create the ghostly image of a face, which both emerges from and dissolves into its mysterious backdrop. The eyes of the figure, deeply set and gaze directly at the viewer, generating an intimate and unsettling encounter.The title itself, "A Veil, a Printed Image," invites us to reflect on layers of visibility and hiddenness. Redon masterfully plays with the idea of revelation and concealment, suggesting questions about what is seen and what lies beneath the surface. This lithograph is not just a portrait but serves as a portal to deeper introspection and the elusive nature of perception and reality.Redon’s work is characterized by a dreamlike quality that defies simple interpretation, engaging viewers to delve into their interpretations. The misty, almost ethereal quality of the image combined with its enigmatic presence makes it a captivating piece for contemplation.

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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.