Partout des prunelles flamboient c. 19th century

Curator: This is Odilon Redon's lithograph, "Partout des prunelles flamboient," dating back to the late 19th century. You can see it right here at the Minneapolis Institute of Art. Editor: My initial impression is one of intense surveillance. The floating eye dominates the landscape. It's unsettling but strangely beautiful. Like being watched by a celestial being with dubious intentions. Curator: That feeling of being watched is key. Redon was deeply immersed in symbolism. Eyes, especially disembodied ones, frequently appeared in his work, often representing an almost psychic awareness or an unsettling truth. They challenge conventional modes of seeing. Editor: Absolutely, it goes beyond simple observation. There is something distinctly Foucauldian about it for me. This immense, disembodied eye is like a panoptic gaze surveying and controlling. It's a symbol of power, perhaps? The power of institutions, of societal norms... Curator: I think Redon was much more internal. It's like this eye is observing from within, expressing not external societal structures, but the psychological states and the hidden realities that he so often explores. What if the observed is actually *himself*? Editor: I love that idea. Then, what are we to make of the landscape at the bottom of the image? Is that supposed to ground us in any sort of reality? Is this some internal topography? Curator: Redon creates dreamscapes—not straightforward landscapes. They reflect the inner world of the unconscious. The lithographic medium really contributes to this atmosphere. Editor: And you're right to mention the medium! It allows for such incredible textures, gradients that definitely add to that sense of unease and unreality, or hyper-reality, really. The contrast between the almost velvety darkness of the eye and the ethereal lightness surrounding it. Curator: Indeed, a push-pull between darkness and light... Between what's visible and what remains concealed. "Everywhere, pupils burn"... they burn through illusions, perhaps. Editor: This piece reminds me that artworks, especially of this symbolic nature, should feel deeply personal, almost uncomfortable. We should leave with more questions than answers. Curator: And Redon never fails to ignite that spark of internal questioning, doesn’t he? What a legacy to have.