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La Désespérance, Dit Aussi La Souffrance (1882) reproduction of painting by Odilon Redon. ALL GICLEE PRINTS

La Désespérance, Dit Aussi La Souffrance (1882)

Odilon Redon
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Artist: Odilon Redon (1840–1916)Year: 1882Odilon Redon, a visionary symbolist painter, invites viewers into a world of profound emotion with his painting "La Désespérance, Dit Aussi La Souffrance." This artwork, translating to "Despair, Also Known As Suffering," captures the essence of human anguish through the figure of a cloaked individual, whose face expresses deep sorrow.The central figure in the painting is draped in a dark, richly colored robe that engulfs her form, suggesting a protective or smothering nature. Her head is inclined, and her eyes are closed, as if to internalize or shut away the pain. The faded, neutral background contrasts starkly with the vibrant reds of the cloak, highlighting the figure’s isolation and emotional intensity.Redon's use of muted tones and minimalistic composition focuses the viewer's attention on the subtle expressions of the figure, making the emotional experience both intimate and universal. The texture and brushwork convey a sense of rawness and immediacy, bringing the viewer closer into the subject’s personal space and moment of despair.

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Odilon Redon
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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.

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