Day (Le Jour), from the series, Dreams (Songes), plate VI (1891)

Technique: Giclée quality print
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Titled "Day (Le Jour)", this intriguing lithograph is the sixth plate in the "Dreams (Songes)" series by the artist Odilon Redon, crafted in 1891. This artwork stands out for its contemplative simplicity and subtle enchantment. The composition primarily focuses on a square window pane, the view fragmented by the cross-sections of the window. Through the panes, Redon gently introduces us to a delicate interlay of softly etched branches toned with leaves, perhaps a vine or some tender shoot, that cling to the vertical guideline of the window frame.The window not only acts as a literal barrier between the interior and exterior worlds but also serves as a metaphor for the opening of perception, leading viewers from the darkened, undefined interior space towards the light and ethereal outside world. Outside the window, the exact details of what is visible remain enigmatic, a dream-like vision that aligns perfectly with the series' theme.Redon's mastery in lithography is evident in the fine details of the flora and the textural contrast between the bold, solid blackness of the room and the nuanced greys of the world outside the window. The work captures a moment of quietude and illumination, suggesting a deeper resonance within the simplicity of observing through a window—an everyday act turned into a profound, introspective experience by Redon's artistic vision.

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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.