Saint-Antoine: Il doit y avoir quelque part des figures primordiales dont les corps ne sont que les images (Saint Anthony: "Somewhere there must be primordial shapes whose bodiesare only images")

Art Historical Context

Odilon Redon's *Saint-Antoine* (1889), a haunting lithograph from his acclaimed series inspired by Gustave Flaubert's *Theation of Saint Anthony*, captures the mystic's visionary reverie. Here, Saint Anthony muses on "primordial shapes whose bodies are only images," evoking ethereal, otherworldly forms that blur the line between reality and dream. Created during Redon's "Noirs" period (1870s–1890s), when he mastered black-and-white media, this print reflects Symbolism's fascination with the subconscious, spirituality, and the unseen forces of the imagination—movements that challenged the era's Realism and Impressionism. As a lithograph, the work showcases Redon's virtuoso technique: greasy crayon on limestone allowed for velvety gradations of tone, misty atmospheres, and delicate textures that mimic charcoal drawings. This medium was ideal for his subtle, poetic effects, enabling affordable editions while preserving the intimacy of his hand. Printed in Paris amid fin-de-siècle cultural ferment, it draws from Flaubert's hallucinatory novel, blending religious ecstasy with psychological depth. Housed in the National Gallery of Art's Rosenwald Collection, this piece invites visitors to ponder the soul's hidden realms, a timeless testament to Redon's role as a bridge between Romanticism and modern Surrealism. (198 words)

About the Artist

Odilon Redon · 1840–1916

Odilon Redon (1840-1916) was a French Symbolist painter, printmaker, and pastellist whose visionary art bridged the 19th-century Symbolist movement and 20th-century Surrealism. Born Bertrand Redon in Bordeaux on April 20, 1840, he earned the nickname "Odilon" from his mother Odile. His father, who made his fortune in the Louisiana slave trade, conceived Odilon in New Orleans before the family retu...