Artwork

Il y eut peut-etre une vision premiere essayee dans la fleur (There was perhaps a first vision attempted in the flower)

Il y eut peut-etre une vision premiere essayee dans la fleur (There was perhaps a first vision attempted in the flower) is an ink print by the Impressionist artist Odilon Redon. It dates from 1883 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1883, this lithograph by Odilon Redon is part of his series of visionary prints that explore inner states through symbolic imagery.

Created in 1883, this lithograph by Odilon Redon is part of his series of visionary prints that explore inner states through symbolic imagery. The work is rendered in black ink on paper, utilizing the lithographic process to achieve a range of tonal effects—from delicate gradients to abrupt, scratchy lines. Its title suggests a poetic meditation on perception, framing the image as a fleeting, almost ineffable moment of insight.

Subject & Meaning

At the center, a large, luminous eye dominates the composition, its gaze unblinking and detached. Below it, a slender hand cradles a flower with elongated petals, evoking both fragility and symbolic resonance. The surrounding radiating lines suggest energy or revelation, while the textured, speckled background implies an undefined, cosmic space. Together, these elements hint at an internal vision—perhaps the birth of imagination or the moment consciousness encounters the sublime.

Technique & Style

Redon employed lithography to draw directly onto a limestone plate, allowing him to mimic the spontaneity of charcoal or ink. He contrasted smooth, blended tones in the eye with jagged, expressive lines radiating outward, creating tension between stillness and motion. The background, densely stippled with minute marks, adds depth and a sense of atmospheric unrest, enhancing the dreamlike quality of the scene without relying on realistic detail.

History & Provenance

This print was produced during Redon’s most prolific period in printmaking, following his transition from charcoal drawings to lithography in the early 1880s. It was included in his portfolio 'Les Origines' (1883–1884), a collection of 20 prints exploring mythic and psychological themes. The work entered public collections in the early 20th century and is now held in major institutions, including the Museum of Modern Art and the British Museum.

Context

Redon created this work amid the rise of Symbolism in French art, a movement that rejected naturalism in favor of emotional and spiritual expression. His imagery drew from literature, dreams, and mysticism, resonating with writers like Mallarmé and Baudelaire. Unlike his contemporaries who depicted the external world, Redon turned inward, using the print medium to render the invisible—thoughts, fears, and visions beyond the reach of sight.

Legacy

This lithograph exemplifies Redon’s influence on later Surrealist and Expressionist artists, who admired his ability to materialize the subconscious. His use of the eye as a symbol of inner vision became a recurring motif in 20th-century art. The work’s quiet intensity and technical innovation helped redefine printmaking as a vehicle for psychological depth rather than mere reproduction.