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About this work
Redon's *Roger et Angelica* conjures a moment from Ludovico Ariosto's *Orlando Furioso*—the enchantress Angelica's rescue by the knight Roger astride his mythical hippogriff. The title alone signals narrative drama, yet Redon's treatment dissolves action into something far more intimate and dreamlike. Rather than depicting heroic spectacle, the composition likely renders the meeting as a vision suffused with tender emotion: two figures suspended in a luminous, iridescent space where the boundaries between the earthly and the fantastical blur. The hippogriff emerges not as a fearsome beast but as a creature of grace, its impossible form rendered through Redon's masterful handling of pastel—that medium's soft, almost ethereal quality perfectly suited to an encounter that feels more imagined than witnessed.
By 1910, Redon had long since abandoned the dark, brooding *noirs* of his early years. This pastel belongs to his mature period, when he achieved renown as a supreme colorist, moving freely between literary and personal vision. His commitment to placing "the logic of the visible at the service of the invisible" reaches full flowering here: the painting invites us not to observe a scene but to enter an emotional landscape where romance, desire, and the supernatural converge.
Hung in soft, even light, this work rewards contemplative viewing. It speaks to collectors drawn to narrative depth and chromatic subtlety—those who recognize that true imagination lives not in spectacular detail but in suggestive color and form. It transforms a wall into a portal to reverie.
About Odilon Redon
Few nineteenth-century artists moved as dramatically as this French Symbolist, who spent decades working almost exclusively in charcoal and lithography - the famous "noirs," peopled with floating eyes, severed heads, and dream creatures - before erupting into color around 1890. The pastels and oils of his later years are saturated, hallucinatory things: pollen-yellow flowers, violet skies, faces emerging from mist. Born in Bordeaux in 1840, he stood apart from the Impressionists, drawing instead from Goya, literature, and his own interior weather, and was admired by the young Matisse and the Nabis. His work suits anyone drawn to quiet strangeness - imagery that rewards long looking.
