There were also embryonic beings (1885) by Odilon Redon

There were also embryonic beings - Odilon Redon - 1885

Artwork Information

TitleThere were also embryonic beings
ArtistOdilon Redon
Date1885
Mediumlithography,paper
Art MovementSymbolism

About There were also embryonic beings

The artwork entitled “There were also embryonic beings,” created by the artist Odilon Redon in 1885, is a compelling example of lithography on paper. As part of the Symbolism art movement, this piece is categorized under the symbolic painting genre and is a constituent of the “Homage to Goya” series. The aesthetic and thematic choices reflect the Symbolists’ predilection for exploring vivid and fantastical themes, allowing for a deepened exploration of the artist’s imagination and subjective reality.

The artwork presents a stark yet evocative visualization, distinguished by conspicuous contrasts and a subtle interplay between light and darkness, typical of the lithographic medium. Two central figures, markedly embryonic in nature, dominate the composition, while the background fades into soft gradients, accentuating the subjects. One can observe the embryonic beings suspended, one in the foreground and the other just visible near the edge of the column, their placement within the spatial context suggesting a certain tension and mystery.

The larger figure, occupying the central area of the artwork, exhibits a direct gaze that engages the viewer, instilling a sense of eerie sentience and otherworldly presence. The second, smaller figure appears partially obscured, nestled adjacent to the column’s base—its features are faint, yet still discernibly human-like, contributing to the overarching theme of incipient life and the uncanny.

Redon’s technique, characterized by delicate tonal gradations and a potent sense of atmosphere, imbues the scene with a psychological depth indicative of Symbolism. The caption “Il y eut aussi des ÊTRES EMBRYONNAIRES” further reinforces the conceptual narrative of the work, wherein embryonic forms seemingly exist at the threshold of life and the dark corners of human perception, intertwined with philosophical and existential musings. Through this lithograph, Redon compels the audience to contemplate the realms of the unknown and the genesis of existence, crafting a visual manifestation of the latent and the nascent.

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