Who painted C'est le Diable?

C'est le Diable was painted by Odilon Redon in 1888.

Where can I see C'est le Diable?

C'est le Diable is held by National Gallery of Art.

What movement is C'est le Diable?

C'est le Diable is associated with Impressionism.

Artwork

C'est le Diable

Odilon Redon , 1888

C'est le Diable is an ink print by the Impressionist artist Odilon Redon. It dates from 1888 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1888, C’est le Diable is a lithographic print on chine collé by French symbolist Odilon Redon. The work presents a dark, winged figure that dominates the composition, set against a nebulous, shadowy background. Its stark contrasts and ambiguous subject matter invite viewers to contemplate themes of sin and the supernatural.

Subject & Meaning

The central figure appears hunched, with bat‑like wings and clawed hands, clutching a small, curled creature. An accompanying inscription reads, “This is the devil, carrying under its two wings the seven capital sins,” linking the image to moral allegory and suggesting a personification of vice within a dreamlike, nightmarish tableau.

Technique & Style

Redon employed lithography on a thin paper support adhered to a sturdier backing (chine collé), allowing delicate tonal variations. He juxtaposed smooth, flowing lines with harsher, textured strokes, producing a haunting atmosphere. The interplay of light and shadow, combined with the ethereal background, reflects his Symbolist interest in the uncanny and the subconscious.

History & Provenance

First exhibited in the late 1880s, the print entered the market through Redon’s Parisian dealers and later passed into private collections before being acquired by a major museum in the mid‑20th century. Its provenance traces a typical path for Redon’s prints, moving from the artist’s studio to collectors of Symbolist art.

Context

C’est le Diable belongs to Redon’s mature period, when he increasingly turned to printmaking to explore darker, more fantastical subjects. The work aligns with contemporary Symbolist preoccupations with morality, the occult, and the inner life, echoing literary and artistic currents that sought to visualize the unseen forces shaping human behavior.