Artwork

And I, John, Saw the Holy City, New Jerusalem, Coming Down from God and out of Heaven

And I, John, Saw the Holy City, New Jerusalem, Coming Down from God and out of Heaven is a print by the Impressionist artist Odilon Redon. It dates from 1899 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

This lithographic print is the final work in Odilon Redon’s series of eleven portfolios that visually interpret passages from the Book of Revelation. The image depicts a luminous city suspended in the heavens, its walls studded with gemstones and streets paved in gold, all suffused with a gentle, radiant light that conveys a serene, otherworldly atmosphere.

Subject & Meaning

The composition draws directly from Revelation’s prophetic vision of the New Jerusalem descending from God. By rendering the biblical description of a celestial city, Redon translates a complex theological concept into a tangible, glowing tableau, emphasizing the promise of divine renewal and the spiritual illumination associated with the apocalyptic narrative.

Technique & Style

Executed as a lithograph, the work employs subtle gradations of tone to achieve a chiaroscuro effect, balancing luminous highlights against deep shadows. Redon’s line work remains precise yet ethereal, allowing the gemstone walls and golden streets to emerge with a quiet brilliance that reflects his broader interest in dreamlike, symbolic imagery while adhering closely to textual detail.

History & Provenance

Created toward the end of Redon’s career, the print was issued by the Parisian dealer Ambroise Vollard, who had begun promoting Redon’s prints a year earlier. Vollard’s involvement helped secure a market for the series both in France and internationally, reinforcing Redon’s reputation as a leading figure in Symbolist printmaking.

Context

Redon’s choice to illustrate Revelation aligns him with earlier artists such as Albrecht Dürer, who also rendered apocalyptic themes. While most of Redon’s oeuvre evokes vague, dreamlike references, this series marks a deliberate, literal engagement with scriptural text, situating his work within a tradition of visualizing biblical prophecy.