Odilon Redon Posters: Framed Prints & Canvas Wall Art From His Noirs to His Florals

Search "odilon redon posters" and you will find the same pattern everywhere: a wall of thumbnails, a short artist bio copied across a dozen sites, and almost nothing about which lithograph is which or why it looks the way it does. This collection takes the opposite approach. Every Odilon Redon print here is tied to a specific work, a real year, and a place in his career, and every one is available as a framed poster, an unframed fine-art print, or canvas wall art.

Redon's work is unusual among the Symbolists because it genuinely split into two distinct visual languages. There is the Redon of the 1880s and early 1890s, working almost entirely in charcoal and lithograph, producing what critics still call his "noirs," or black phase. And there is the Redon of the 1900s onward, who abandoned black and white almost completely in favor of pastel, oil, and color lithography, filling his compositions with flowers, mythological figures, and glowing portraits. This page walks through both chapters, one Odilon Redon print at a time, with styling notes for wherever you plan to hang it.

Odilon Redon (1840–1916) trained in Bordeaux before moving to Paris, where he spent his early career almost entirely in monochrome. He worked with charcoal and lithography rather than the bright, outdoor palette his Impressionist contemporaries favored, and his early prints are full of dreamlike, unsettling imagery: detached eyes, spiders, and figures drawn more from imagination than observation.

That period is what collectors mean when they search for a Redon lithograph or an odilon redon print from his "black phase." Around the turn of the century, Redon's work changed dramatically. He began working in pastel and oil, and color entered his compositions almost overnight. Mythological subjects, portraiture, and above all flowers became his primary focus for the rest of his life. Both phases are represented in this collection, and both are available as framed Odilon Redon posters or canvas wall art.

Redon's noirs remain some of the most striking work to come out of French Symbolism. Printed almost entirely as lithographs, these pieces trade color for atmosphere, using deep blacks and soft charcoal greys to build a mood no amount of paint could match.

A Symbolist lithograph rendered in Redon's classic noir style, Armor uses dense, velvety black to suggest more than it shows outright — a hallmark of his early printmaking. It suits a study or reading room where a darker, more contemplative print feels appropriate.

Druidesse depicts a Symbolist priestess figure in Redon's signature black lithograph technique, one of the more mysterious and figure-driven pieces in the noir period. It is a strong choice for anyone building a gallery wall around Symbolist portraiture rather than landscape or floral subjects.

Brunnhilde takes its subject from Wagnerian opera, a fitting choice for an artist as drawn to myth and legend as Redon was. Held in the National Gallery's collection, this lithograph bridges the gap between his black-phase technique and the mythological subject matter that would carry into his later color work.

Around 1900, Redon's palette exploded into color almost overnight, and it never went back. This is the Redon most people picture when they think of his art: soft pastels, glowing florals, and mythological figures rendered in warm, saturated tones rather than charcoal grey.

A transitional piece bridging Redon's black-phase mythology with his coming color period, Centaur Aiming at the Clouds captures the artist's enduring fascination with classical legend. It works well as a single statement piece in a den or library, where its mythological subject matter has room to be the focal point.

Painted during Redon's stay at the Château de Domecy, this portrait of the Baronne captures the artist's newly color-driven approach to portraiture. Held in the Getty Museum's collection, it brings a warmer, more formal presence to a gallery wall than his earlier noir portraits.

Held in the Rijksmuseum's collection, this mythological scene shows Redon fully embracing his color period, trading the shadowy tones of his noirs for a luminous, almost celestial palette. It is one of the most visually dramatic Odilon Redon prints in the collection, and it makes a strong single statement piece above a sofa or console.

Flowers dominate Redon's final decade, and this bouquet is a textbook example of why. Rendered in soft, glowing pastel tones inside a Chinese vase, it belongs to the same floral tradition that produced Redon's celebrated late-life pastels, including his famous Flower Clouds.

Held in the collection of the Musée d'Orsay, Evocation of Roussel is a later portrait that shows Redon applying his mature, color-saturated technique to a specific subject rather than a mythological figure. It reads as a quieter, more introspective piece than his mythological scenes.

A Symbolist watercolor rather than a lithograph, Five Butterflies captures the lightness that defines Redon's final years. Its soft, airy palette makes it one of the gentlest pieces in the collection, well suited to a nursery, sunroom, or bedroom.

No conversation about Redon's later work is complete without mentioning Flower Clouds, the pastel masterwork most closely associated with his final floral period. While Flower Clouds itself sits in a museum collection, the same soft, glowing technique runs through Bouquet in a Chinese Vase and Five Butterflies, both available in this collection. If a search for "flower clouds by odilon redon" brought you here, these two pieces are the closest available reflection of that same late-career floral sensibility.

A single Redon print, framed and centered above a console or sofa, works as an instant focal point on its own. If you want a gallery wall instead, group by phase rather than mixing freely — the black-phase lithographs (Armor, Druidesse, Brunnhilde) read as one cohesive, moody grouping, while the color-phase pieces (Apollo, Baronne De Domecy, the florals) form a warmer, brighter cluster.

In a study or home office, a single noir lithograph carries real presence without competing with your desk setup. In a living room, one of the mythological color pieces makes a strong statement above a sofa. For a bedroom or nursery, Five Butterflies or Bouquet in a Chinese Vase bring in softness without visual noise.

Every Odilon Redon print starts on museum-quality archival paper, chosen for its fade resistance and neutral base so the deep blacks of his noirs stay rich rather than fading toward grey, and so the soft pastels of his later work stay true rather than yellowing. Our canvas wall art option is stretched over a solid wood bar frame and finished with a protective UV coating, which matters most for the lighter, pastel-toned florals.

Framing options include slim black, matte white, and natural oak mouldings. Black frames suit the high-contrast noir lithographs particularly well, while natural oak complements the warmer tones of his color-phase mythological and floral work. Choose framed if you want a piece ready to hang the moment it arrives; choose unframed fine-art paper if you already have frames you would like to reuse.

Redon sat at the heart of a wider Symbolist circle whose influence stretched across Europe. Our Gustav Klimt posters, framed prints, and canvas wall art collection carries the same decorative color sensibility into Vienna's Symbolist and Art Nouveau scene, while our Egon Schiele prints, framed posters, and canvas wall art collection offers a rawer, more expressive counterpoint from the same broader movement. For the full lineup of artists we carry, our famous artists index is the fastest way to browse.

Few Symbolist careers moved as dramatically from shadow to color as Redon's — decades of charcoal noirs followed by a final act built entirely on light and flowers. Browse the pieces above, compare framed versus canvas, and let one phase of that story set the tone for your wall.