I Plunged Into Solitude i Dwelt in the Tree Behind Me Plate 9 1896 by Odilon Redon
I Plunged Into Solitude I Dwelt In The Tree Behind Me Plate 9
The Enigmatic Solitude of Redon’s 1896 Lithograph
In the twilight of the 19th century, as Symbolism reached its zenith, Odilon Redon produced I Plunged Into Solitude I Dwelt In The Tree Behind Me Plate 9 (1896), a lithograph that distills the movement’s fascination with the unseen and the subconscious. This work belongs to Redon’s late period, when his focus shifted from the macabre to more contemplative, almost mystical scenes. The title itself—a fragment of poetic introspection—hints at the artist’s preoccupation with isolation and the natural world as a refuge from modernity. Unlike his earlier, more overtly fantastical works, this lithograph embraces ambiguity through its sparse composition: a solitary figure, a tree, and an expanse of negative space that invites projection.
The lithograph emerged during a decade when Redon’s reputation was solidifying. By 1896, he had already exhibited with the Nabis and influenced younger artists like Gauguin and the Symbolists. Yet this work stands apart from his colorful florals of the 1900s; its monochromatic palette and linear precision reflect his mastery of printmaking. As The Metropolitan Museum of Art notes, Redon’s lithographs often served as visual meditations, where “the absence of color forces the viewer to engage with form and emotion alone.” Here, the tree becomes both shelter and symbol—a recurring motif in Redon’s oeuvre, where nature and psychology intertwine.
Redon’s Symbolist Isolation: A Departure from the Macabre
By the 1890s, Odilon Redon had transitioned from the dark, grotesque imagery of his “noirs” to a more introspective, even serene, exploration of solitude. This shift coincided with his growing interest in Buddhism and the writings of Schopenhauer, whose philosophies emphasized withdrawal from the material world. Plate 9 exemplifies this evolution: the title’s first-person declaration—“I plunged into solitude”—echoes the artist’s own retreat into his garden at Biarritz, where he spent hours observing nature. The tree, a recurring symbol in his work, here becomes a literal and metaphorical anchor, its branches forming a fragile canopy over the unseen figure.
Critics often contrast Redon’s late works with the decadent excesses of fin-de-siècle Paris. While artists like Gustave Moreau filled their canvases with mythological spectacle, Redon’s lithographs from this period—including this one—favor emptiness. The Tate describes his approach as “a quiet revolution,” where “the absence of narrative compels the viewer to complete the scene.” In Plate 9, the minimalism is deliberate: the figure’s face is obscured, the background dissolved into atmosphere. What remains is a meditation on presence and absence, a theme that would dominate his final decades.
Redon’s lithographs are not illustrations of dreams but invitations to dream. In Plate 9, the tree’s skeletal branches do not merely frame the figure—they become the figure’s extended self, a fusion of human and nature that defies the boundaries of Symbolist convention.
The Lithographer’s Hand: Precision and Poetic Ambiguity
Composition: The Power of Negative Space
Redon’s composition in Plate 9 relies on the tension between the tree’s intricate branches and the vast, unmodulated background. The figure, reduced to a few essential lines, is positioned off-center, creating a sense of imbalance that mirrors the psychological weight of the title. This asymmetry was radical for its time; most Symbolist prints, even those by Redon’s contemporaries like Félicien Rops, crowded the picture plane with detail. Here, the emptiness becomes an active participant in the narrative, a visual correlate to the “solitude” evoked in the title.
Line and Texture: The Tactility of Lithography
The lithographic process allowed Redon to exploit the granular quality of the medium. In Plate 9, the tree’s bark and foliage are rendered with a tactile precision, their textures contrasting sharply with the smooth, almost liquid void surrounding them. This juxtaposition was no accident: Redon often spoke of lithography as a “direct transcription of thought,” where the artist’s hand and the stone’s resistance merge. The result is a surface that feels both immediate and elusive, much like the memory of a dream.
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Add to Cart — Ships FreeDisplaying Redon’s Solitude: A Guide to Placement
This lithograph’s monochromatic palette and intimate scale (30×40 cm) make it ideally suited to spaces that encourage contemplation. In a study or library, its quiet intensity complements dark wood furnishings and leather-bound books, while the tree’s organic lines soften the severity of modernist interiors. For a bedroom, consider positioning it opposite a window; the interplay of natural light and the print’s textured surface will enhance its meditative quality. Avoid overly bright walls—opt instead for deep grays, muted blues, or warm taupes that allow the lithograph’s details to emerge gradually.
The frame’s narrow profile and neutral finish ensure the focus remains on Redon’s work, but the print’s emotional resonance allows for bold pairings. In a gallery wall, contrast it with a vibrant Post-Impressionist piece to highlight Symbolism’s introspective counterpoint. Alternatively, let it anchor a minimalist arrangement alongside a single sculptural object, such as a ceramic vessel or a piece of driftwood, to echo the tree’s organic forms.
Frequently Asked Questions
Is the frame included, and what is its quality?
Yes, every print includes a custom gallery frame crafted from solid wood with an archival mat board. The frame is designed to complement the artwork’s era, with a neutral finish that enhances the lithograph’s details without competing for attention.
Where do you ship, and how long does delivery take?
We offer free worldwide shipping to all countries, with no minimum purchase. Delivery typically takes 5–10 business days, depending on your location. Your print will arrive ready to hang, with no additional duties or fees.
How long will the colors and paper last?
Our prints use archival-grade paper and inks rated for 100+ years without fading. The lithograph is protected by a UV-resistant glass to preserve its delicate lines and textures, ensuring it remains a centerpiece for generations.
What is your return policy?
We offer a 30-day return window. If you’re not completely satisfied, you may return the print in its original condition for a full refund. No restocking fees apply, and we provide a prepaid shipping label for your convenience.
Sources & Further Reading
- The Metropolitan Museum of Art. "Odilon Redon: Lithographs and the Language of Silence." metmuseum.org
- Tate. "Symbolism and the Sublime: Redon’s Late Works." tate.org.uk
More Works by Odilon Redon
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