There Were Also Embryonic Beings

Redon employed lithography to achieve soft, smoky transitions between forms, avoiding sharp outlines in favor of atmospheric gradations. His use of ink wash and tonal variation creates a sense of weightlessness, as if the figures emerge from shadow rather than occupy space. The technique echoes sfumato in painting, dissolving boundaries between figure and ground to mimic the instability of dreams.

Created in the 1890s, this portfolio was among Redon’s first major forays into lithography after abandoning charcoal and ink drawings. Though many such portfolios were later disassembled, the Cleveland Museum acquired a complete set with its original cover during the 1920s, a rare preservation that allows viewers to experience the work as Redon intended—bound, sequential, and immersive.

Redon’s 'noirs' emerged during a period when Symbolist artists sought to express inner experience over external reality. Influenced by Goya’s darker prints and contemporary interest in psychology, Redon turned away from traditional representation. His imagery resonated with literary figures like Mallarmé and Baudelaire, who valued ambiguity and the unseen as pathways to truth.

This series helped define Redon’s reputation as a pioneer of psychological imagery in printmaking. Its influence extended to Surrealists, who admired its unstructured visions and emotional resonance. Though not widely exhibited in his lifetime, the portfolio’s preservation in institutions like Cleveland ensures its role as a touchstone in the evolution of modern graphic art.