Updated октобар 2026 · ranked by our popularity score (searches, visits and orders for each work) · 804 works by Одилон Редон in our catalogue
In short
Одилон Редон's best-known piece is The cyclops (1914). You'll find it at the Kröller-Müller Museum in Otterlo. Next on the list are The Black Pegasus and Woman and Centaur (1900). We have 804 works by Одилон Редон in our catalogue; this guide picks out the 100 best known, with the year, the museum and the story of each piece.
Odilon Redon's "The Cyclops," painted around 1914, isn’t merely a depiction of the Greek myth; it’s an immersion into a profoundly personal and unsettling dream world. This arresting work, now housed in the Kröller-Müller Museum in Otterlo, Netherlands, transcends simple illustration, offering instead a glimpse into the artist's subconscious – a realm populated by shadowy figures, potent symbols, and a palpable sense of yearning.
To gaze upon Odilon Redon's The Black Pegasus is not merely to look at a painting; it is to step through a veil into the shimmering, melancholic landscape of the subconscious mind. This captivating oil on canvas transports the viewer beyond the mundane realities of the visible world, inviting an intimate communion with the realm of dreams and myth. The central figure—the magnificent black pegasus—is breathtaking in its impossible grace.…
To stand before Odilon Redon’s Woman and Centaur is to step across the threshold into a dreamscape, a place where the boundaries between myth, instinct, and profound human emotion dissolve. Created in the year 1900, this work is not merely a depiction of two figures; it is a visual poem rendered in ink and shadow, embodying the very spirit of Symbolism. Redon, an artist forever drawn to the unseen realms…
A nude male figure, Saint Sebastian, occupies the center of this Symbolist composition, his pale skin illuminated against a dark, atmospheric backdrop. He is pierced by arrows, a physical manifestation of martyrdom and spiritual endurance. Large, vertical forms resembling ancient trees or rocky outcroppings loom over him, creating a sense of enclosure. The background features patches of ochre, gold, and cool blues that suggest a nebulous, dreamlike space.
To stand before Odilon Redon's depiction of The Martyrdom of Saint Sebastian is to step across a threshold into the deep, resonant chambers of the Symbolist imagination. This 1910 oil on canvas does not merely record an event; it excavates a profound state of being—one caught between agonizing vulnerability and transcendent spiritual endurance. The composition immediately arrests the viewer with its intense chromatic drama. Saint Sebastian, bound to the base…
The Death of Ophelia is a captivating painting by the French artist Odilon Redon, created in 1905. This oil on canvas piece is a representation of the tragic death of Ophelia from Shakespeare's play Hamlet. The painting is a prime example of the Symbolist art movement, which sought to represent absolute truths symbolically through language and metaphorical images. Symbols and Metaphors The painting features a woman sitting on a rock…
The sea breathes with a quiet, rhythmic pulse as a figure begins to take shape upon the water. Venus lies reclined within a red boat, her form emerging from the depths of the ocean in a moment caught between sleep and awakening. The surface of the water reflects soft shades of blue and yellow, casting a warmth that settles over the scene like a gentle afternoon sun. There is a…
To gaze upon Odilon Redon's White Pegasus is to step across a threshold into a realm where myth breathes and the spirit takes flight. This captivating oil on canvas, dating from 1908, is far more than a mere depiction of a winged horse; it is a profound meditation on freedom, purity, and the sublime mystery that underpins our visible reality. The composition centers around the magnificent white Pegasus, poised atop…
To gaze upon Odilon Redon's Breton Village is not merely to observe a scene; it is to step through a veil into a meticulously crafted dream. Painted in 1890, this work stands as a profound testament to the Post-Impressionist spirit—a movement that dared to look beyond the fleeting shimmer of natural light and instead plumb the depths of human emotion and subjective experience. Redon eschews the purely objective record of…
To gaze upon Odilon Redon’s Sacred Heart is to step through a veil into a realm where the spiritual meets the exquisitely tangible. Painted in 1910, this masterpiece transcends mere portraiture; it is a profound meditation on divine love and boundless compassion. The composition immediately draws the eye to the central figures—a woman, perhaps evoking the timeless grace of Mary, cradling a child whose form, rendered in striking black and…
La Barque Mystique
12
Flower of Blood1895
13
The Green Horseman1904
14
The Flame (Goddess of Fire)1896
15
Reflection
16
Portrait of Madame Redon with Ari1902
17
The Black Sun
18
The Cyclops1914 · Kröller-Müller Museum
19
Underwater Flora
20
Death: My irony surpasses all others!1889
21
Arbre sur fond jaune1901
22
Prayer, Face, Flowers1893 · Musée d'Orsay
23
Mystical Conversation1896 · Museum of Fine Arts
24
Siren1900 · Kunstmuseum Basel
25
On the Horizon, the Angel of Certitude, and in the Dark Sky, A Questioning Glance1882 · Los Angeles County Museum of Art
26
Head with Flowers1907
27
Le Bouddha (The Buddha)
28
The Road to Peyrelebade
29
The Window1907 · Neue Pinakothek
30
Lenor appears in front of the black sun of melancholy1882
31
Vision1883
32
The Prisoner (Boulet)1879
33
Sita1893
34
Portrait of Mademoiselle Jeanne Roberte de Domecy1905
35
Screen for Olivier Sainsère1903
36
Les Origines — Plate 21883
37
The Departure1906
38
Veiled Woman1895 · Kröller-Müller Museum
39
Woman in RedMusée d'Orsay
40
The Gambler1879
41
The Mask of the Red Death1883
42
Everywhere eyeballs are aflame1888
43
Flowers1909
44
I am still the great Isis! None has yet lifted my veil! My fruit is the Sun! (plate 16)1896 · MoMA - Muzej moderne umetnosti
45
untitled (5561)
46
Saint George and the Dragon (Saint Georges et le dragon)1909 · Barnes Foundation
47
Cup of cognition (The Children's Cup)1894
48
The Dream (also known as Thought)1908
49
Hantise (Obsession)1894 · British Museum
50
The Mysterious Boat1890
51
Yellow Tree1900 · Musée d'Orsay
52
Woman and the mountain landscape1865
53
The Mystical Knight (Oedipus and the Sphinx)1869
54
Two trees1875
55
The Smiling Spider1881
56
Les Origines — Plate 11883
57
Les Origines — Cover1883
58
Christ and the Samaritan Woman (The White Flower Bouquet)1895 · Städel Museum
59
Madness1882
60
There were also embryonic beings1885
61
The Egg1885
62
A madman in a dismal landscape1885
63
In the balance1880
64
Flower of the swamp, a head human and sad1885
65
Upon awakening I saw the Goddess of the Intelligible with her severe and hard profile1885
66
Profile of Light1886 · Scottish National Gallery
67
Cauldron of the Sorceress1879
68
Red Boat with Blue Sails1907
69
Anthony: Help me, O my God! (plate 2)1896
70
Immediately three goddesses arise (plate 11)1896
71
Helena (Ennoia) (plate 10)1896
72
And the eyes without heads were floating like molluscs (plate 13)1896
73
She draws from her bosom a sponge, perfectly black, and covers it with kisses (plate 8)1896
74
The Old Woman: What are you afraid of? A wide black hole! Perhaps it is a void? (plate 19)1896
75
Here is the Good Goddess, the Idaean mother of the mountains (plate 15)1896
76
Oannès: I, the first consciousness of chaos, arose from the abyss that I might harden matter, and give law unto forms (plate 14)1896
77
My kisses have the taste of fruit which would melt in your heart! ... You distain me! Farewell! (plate 4)1896
78
Different peoples inhabit the countries of the Ocean (plate 23)1896
79
Portrait of Ari Redon1898
80
Auricular Cell1894
81
The Two Graces1900 · Columbus Museum of Art
82
Centaur1900
83
Woman in a gothic arcade- woman with flowers1905 · Музеј Ван Гога
84
Profile of a Woman with a Vase of Flowers1900
85
The Gothic Window1900 · Indianapolis Museum of Art
86
The Chariot of Apollo1907 · Pola Museum of Art
87
Flowers in a Japanese Vase1908 · Pola Museum of Art
88
The Muse on Pegasus1908 · The Museum of Modern Art, Gunma
89
Stained Glass Window
90
The Captive1914 · Валраф-Рихарц Музеј
91
Evocation of Roussel1912 · National Gallery of Art
92
Jacob's Struggle with the Angel1910 · Musée d'Orsay
93
Dante's Vision1914
94
Venetian Landscape1908
95
Concern for the Absolute… Philosopher1880
96
Les yeux clos (Closed Eyes)
97
Virgin of the Dawn1890
98
Vase of Flowers1904 · Virginia Museum of Fine Arts
99
cyclops1898
100
Landscape with Eve1900
The four subjects that come up most often in these pieces, each with its best-known example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Одилон Редон | Paintings from this list |
|---|---|---|---|
 Musée d'Orsay |
Pariz | 29 | Saint Sebastian, Prayer, Face, Flowers, Woman in Red |
 Kröller-Müller Museum |
Otterlo | 7 | The cyclops, The Cyclops, Veiled Woman |
 National Gallery of Art |
Washington | 7 | Breton Village, Evocation of Roussel |
 Pola Museum of Art |
Hakone | 5 | The Chariot of Apollo, Flowers in a Japanese Vase |
 Kunstmuseum Basel |
Basel | 2 | The Martyrdom of Saint Sebastian, Siren |
 MoMA - Muzej moderne umetnosti |
New York City | 9 | I am still the great Isis! None has yet lifted my veil! My fruit is the Sun! (plate 16) |
 Музеј Ван Гога |
Амстердам | 5 | Woman in a gothic arcade- woman with flowers |
 British Museum |
London | 2 | Hantise (Obsession) |
Pick a decade to see its standout piece.
Death: My irony surpasses all others! is a lithograph created by Odilon Redon in 1889. This work belongs to the Symbolism movement, a period characterized by an emphasis on subjective experience and the use of symbolic imagery to represent ideas rather than literal reality.
To gaze upon Odilon Redon's Breton Village is not merely to observe a scene; it is to step through a veil into a meticulously crafted dream. Painted in 1890, this work stands as a profound testament to the Post-Impressionist spirit—a movement that dared to look beyond the fleeting shimmer of natural light and instead plumb the depths of human emotion and subjective experience. Redon eschews the purely objective record of…
To stand before Odilon Redon’s Woman and Centaur is to step across the threshold into a dreamscape, a place where the boundaries between myth, instinct, and profound human emotion dissolve. Created in the year 1900, this work is not merely a depiction of two figures; it is a visual poem rendered in ink and shadow, embodying the very spirit of Symbolism. Redon, an artist forever drawn to the unseen realms…
Odilon Redon's "The Cyclops," painted around 1914, isn’t merely a depiction of the Greek myth; it’s an immersion into a profoundly personal and unsettling dream world. This arresting work, now housed in the Kröller-Müller Museum in Otterlo, Netherlands, transcends simple illustration, offering instead a glimpse into the artist's subconscious – a realm populated by shadowy figures, potent symbols, and a palpable sense of yearning.
Top of the list is The cyclops (1914), Kröller-Müller Museum, Otterlo. Right behind it: The Black Pegasus and Woman and Centaur (1900).
74 years old. Одилон Редон was born in 1840, and The cyclops dates from 1914.
The cyclops, The Black Pegasus, Woman and Centaur, Saint Sebastian, The Martyrdom of Saint Sebastian, The Death of Ophelia, The Birth of Venus, White Pegasus, Breton Village and Sacred Heart. You'll find the year and the museum of each in the list above.
We have 804 works by Одилон Редон in our catalogue, dated 1865 to 1914.
You'll find most of them in Musée d'Orsay (Pariz), Kröller-Müller Museum (Otterlo) and National Gallery of Art (Washington). The museum list above has the full breakdown.
In 1900s, more than any other time: 29 of the 100 pieces on this page date from then, Woman and Centaur among them.
The earliest piece here is Woman and the mountain landscape (1865); the most recent is The cyclops (1914).
Dreamlike (12), Woman (8) and Flowers (8), out of the 100 pieces on this page.
Oil On Canvas, used in 18 of the 100 pieces on this page.
Symbolism, as you can see in the pieces on this page.
You can see 5 of the pieces on this page at the Musée d'Orsay, Pariz, including Saint Sebastian, Prayer, Face, Flowers and Woman in Red.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
Rođen kao Bertrand-Žan Redon 20. aprila 1840. godine u Bordou, u Akvitaniji, Francuska, dečak koji će kasnije postati poznat kao Одилон Редон, ušao je u svet oblikovan porodičnim korenima. Njegova majka, Mari Gerin, bila je francuski kreol sa ostrva Bourbon, i upravo od njenog imena on će na kraju dobiti svoj izabrani umetnički pseudonim. Još u mladosti, bila je očigledna određena vizuelna darovitost; sa samo deset godina osvojio je školsku nagradu za crtež, što je bio mali trijumf koji je nagoveštavao senzibilitet koji će kasnije posvetiti svom umeću.
Put ka umetničkom životu nije bio pravolinijski. Iako je sa petnaest godina započeo formalno usporedno usporedno usčenje crteža, očeva želje su ga prvobitno vukle ka strukturiranom svetu arhitekture. Ta težnja vodila ga je u Pariz, gde je 1864. godine nakratko studirao slikarstvo pod mentorstvom umetnika Jean-Léon Gérôme. Međutim, strogi zahtevi arhitektonske obuke nisu odgovarali njegovom temperamentu. Nakon što nije položio prijemni ispit za École des Beaux-Arts, vratio se u rodni Bordou kako bi pronašao drugačiji način posmatranja sveta.
U tišini svog rodnog kraja, njegove ruke su otkrile nove teksture. Počeo je da se bavi skulpturom i počeo je da ovladava zamračnim, složenim umetnostima bakropisa i litografije. Upravo pod vođstvom Rodolphe Bresdin, ove tehničke veštine su se ukorenile, pružajući mu alate za istraživanje mračnijih i ambiguitetnijih sfera ljudske psihe. Te rane godine eksperimentisanja sa linijom i kamenom postavile su temelj za sve što je usledilo.
Tok redonove biografije popluo je neočekivani preokret 1870. godine, kada ga je francusko-pruski rat pozvao u vojnu službu. Ovo razdoblje vojničkog dužnika prekinulo je njegov razvojni umetnički put, ali nije moglo ugasiti vizije koje su se nemirno kretale u njemu. Nakon povratka, Одилон Редон je usredsredio svoj fokus na senke, radeći gotovo isključivo u crno-beloj tehnici sve do svoje pedesete godine. Te vizionarske radove počeo je nazivati svojim noirs (crnjakima), što je termin koji je savršeno uhvatio intenzivnu, mračnu prirodu njegovih istraživanja. Kroz ove monohromatske studije, on je nastojao da omateri nevidljivo, udaljavajući se od doslovnog sveta kako bi pronašao jezik čiste svetlosti i tame.
Njegova metoda bila je raznolika poput stvorenja koja je prizivao. Savladao je umetnost litografije i koristio crtež ugljenom za izgradnju svojih kompozicija, često slojevito nanoseći različite materijale kako bi postigao specifičnu dubinu. Kombinovao je vin i uljem namašćen ugalj sa dodacima komprimiranog ugljenika i crne pastele kako bi stvorio specifične efekte. Ovi alati omogućili su mu da prikaže noćne scene i čudna, fantastična bića koja su delovala kao da izranjaju iz vrtlogova magle. Njegove ruke radile su sa promišljenim intenzitetom, koristeći tvrdoću crne krede za ocrtavanje oblika nasuprot mekšim, atmosferskim delovima ugljenka. Rezultati nisu bili obični crteži, već prozori u privatno, senovito carstvo.
Kako su se 1890-e približavale, nova svetlost počela je da osvetljava Редонов atelier. Teške, monohromatske senke njegovih ranih godina ustupile su mesto iznenadnom zagrljaju boje. Okrenuo se pastelama i uljanim bojama, pronalazeći u tim medijumima način da izrazi promene u raspoloženju duše. Ovo nije bio samo običan promena tehnike, već duboko širenje njegove vizije. Odošao je od oštrine svojih studija ugljenom ka sanjovitoj apstrakciji, gde su se oblici činili kao da se rastapaju u svetlosti i nijansi. Ova tranzicija označila je njegovo mesto u samom srcu simbolističkog pokreta, dok je nastojao da kroz jezik boje da oblikuje ono što je neopipljivo.
Ova novopronađena luminosnost bila je duboko influisana dolaskom japanske umetnosti u Francusku. Одилон Редон je osetio snažnu privlačenost estetikom japanskih printova, pronalazeći mnogo toga čemu se može diviti u njihovoj ravnskoj perspektivi i odvažnosti njihovih boja. Ova fascinacija omogućila mu je da ode još dalje u carstvo sugestije, umesto doslovnog prikazivanja. Njegove kompozicije počele su da odražavaju ovaj istočnjački uticaj, spajajući osećaj misterije sa dekorativnijom, eteričnom kvalitetom. Svet koji je slikao više nije bio mesto čvrstih objekata, već prostor duhovnog i emocionalnog odjekivanja.
Kako se Одилон Редон udaljavao od senki svojih ranih godina, njegova četica je pronašla novu svrhu zahvaljujući pokroviteljstvu onih koji su delili njegovu fascinaciju nevidljivim. Baron Robert de Domecy postao je značajna figura u ovom periodu, angažujući umetnika da zabeleži likove svoje porodice. Ovi portreti baronske supruge i njihove ćerke, Žan, omogućili su Редону da svoje evoluirajuće osećanje za svetlost primeni na ljudski oblik, nastojeći da otkrije unutrašnji život koji pulsira ispod površine kože.
Njegova mašta često je skretala ka drevnim mitovima, preoblikujući ih kroz prizmu sanjljive apstrakcije. U jednom od njegovih istaknutih uljanih slika, prikazao je mit o Polifemu i nimfi Galateji, poznat kao Kiklop. Ovo delo hvata giganta kako on jedno oko okreće ka spavajućoj devojci, u kompoziciji koja odražava njegovu sposobnost da spoji klasičnu temu sa dubokom psihološkom misterijom. Slično tome, njegovo pastelno delo iz 1900. godine, Portret Marie Botkine, poziva nas na pažljivo posmatranje tihih, introspektivnih dubina subjekta, prikazanih mekim, luminoznim potezom koji definiše njegov kasniji stil.
U svojim poslednjim godinama, uticaj estetike Istoka postao je još izraženiji, što je dovelo do dela koja su prihvatila dekorativniju i ravniju perspektivu. Pred kraj života, oko 1916. godine, stvorio je Veliki buket u japanskoj vazi, delo koje demonstrira kako su principi japanske umetnosti postali duboko utkani u njegov vizuelni jezik. Ovo kasno delo prikazuje umetnika koji je u potpunosti prigrlio moć boje kako bi izrazio ono što je neopipljivo.
Одилон Редон је koračao kroz svet umetnosti kao crtač, litograf, i slikar, uvek težeći da logiku vidljivog stavi u službu nevidljivog. U svojim ranim godinama, pronašao je duboki jezik u senkama, radeći primarno u crno-beloj tehnici. Savladao je umetnost litografije, koristeći taj medij za postizanje suptilnih tonalnih gradacija koje su omogućavale svetlosti da izroni iz duboke tame. Kako bi postigao veću preciznost, često je koristio veštačku crnu kredu kako bi naglasio specifične kompozicione elemente preko širokih, mekih delova ugljenika. Ova dela su često opisivana kao sinteza košmara i snova, gde su granice između fizičkog i zamišljenog postajale zamagljene.
Kako je njegova ruka postajala sigurnija, njegov pristup teksturi i svetlosti se menjao. Odmakao se od teških, monohromatskih dubina svojih ranih studija ugljenikom ka upotrebi pastela i ulja. Ova tranzicija mu je omogućila da istražuje drugačiju vrstu luminoznosti, iako nikada nije izgubio svoju opsednutost podsviješću. Čak i kada je radio sa bojama, njegove kompozicije su često zadržavale osećaj misterije, kao da subjekti izranjaju iz sna, a ne iz fizičkog pejzaža. Njegova sposobnost da manipuliše različitim medijima omogućavala mu je da najeluzivnije delove ljudske psihe prevede u opipljive oblike.
Talasi Redonove vizije protegli su se daleko iznad tihih prostorija simbolističkog kruga, dotičući same temelje predstojećeg veka. Okrenuvši svoj pogled ka unutrašnjosti kako bi mapirao čudna, iracionalna prostranstva podsvesti, on je pripremio tlo za nadrealiste. Njegova sposobnost da materijalizuje logiku snova pružila je nacrt kasnijim umetnicima kao što su Marsel Dišamp i Maksu Ernstu, koji su težili da oslobode um iz okova razuma. On nije samo slikao scene; on je vizualizovao nevidljive struje ljudskih misli, gradeći most između vidljivog sveta i unutrašnjeg psihološkog bića.
Ova opsednutost subjektivnim iskustvom i emocionalnom težinom nevidljivog takođe je pronašla duboki odjek kod ekspresionističkih slikarâ. Njegov rad je sugestivno ukazivao da prava suština subjekta leži u tome kako se on oseća, a ne u tome kako ga oko meri. Pored njegovih platni i pastelâ, njegova grafička umetnost ostaje duboko dostojanstveno delo. Njegove litografije i crteži ugljenom, te senovita istraživanja mraka i misterije, smatraju se jednim od najinovativnijih dostignuća u grafici devetnaestog veka. Ovladao je suptilnim gradacijama tonova kako bi sugerisao svetove koji su delovali istovremeno drevno i potpuno nov.
Da biste susreli tragove njegove mašte, potrebno je zaputovati u velike svetišta evropske umetnosti. U Parizu, Musée d'Orsay čuva nekoliko njegovih dela, nudeći nam uvid u evoluciju njegove vizije. Oni koji traže njegove bogatije, kasnije istraživačke radove, možda će pronaći put do Njujorka, gde Museum of Modern Art čuva nekoliko dela koja odražavaju njegov prelazak ka svetlijoj, luminističkoj estetici.
Doseg njegovog uticaja prevazilazi granice, nalazeći dom u raznim kolekcijama širom sveta. U Holandiji, Kröller-Müller Museum u Otterlou čuva Ciklopove, delo koje savršeno hvata mitološke i sanjive kvalitete njegove srednje i kasne umetničke faze. Istovremeno, preko Atlantika, J. Paul Getty Museum u Los Anđelesu čuva portret baronice de Domecy, delo koje svedoči o ličnim vezama i porudžbinama koje su oblikovale njegov život.
