Browse Items (54 total)

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The location of this scene is Folkestone, long an important port in Kent on the English Channel. The weather is stormy, as it often is in Buhot’s prints, and as it often is in England. This impression is from the final state, after the illustrated…

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In this print Buhot essentially repeated the composition of A Landing in England in reverse, ostensibly because he had more to say about the subject. This first state of the print, almost pure drypoint, was printed in eighteen impressions, which vary…

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In one of the most drastic transformations in Buhot’s graphic work, the plate for A Pier in England, until then worked up in drypoint, roulette, and aquatint, was plunged into an acid bath—to become an etching. The airiness and brightness of the…

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The subject matter presented here is typical of the French nineteenth-century landscape painter Eugène Boudin, whose work Buhot admired. However, this image is not based on any Boudin painting or sketch; it is Buhot’s original conception. The…

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Numerous studies exist for an etching of the same title and composition, all realized, as might be expected, in reverse of the print. This drawing, executed in the same orientation as the etching, was thus likely completed by Buhot as an independent…

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Buhot rarely made prints of generic landscape, generally preferring to etch and interpret actual scenes known to him. This print stands out in his work for its anonymity of place and its execution, in which detail is largely obscured in the depth of…

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The first thing one notices about the work is that it is printed in two colors, with the little portrait standing out from the complex composition. Not all impressions are printed in this manner, with the artist choosing instead to use a black or…

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The image is often described as Buhot’s most charming print, a portrayal of the archetypical French couple heading home in a rainstorm under a single umbrella. Buhot added detailed margins to the left, reflecting what might be found within the…

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This counterproof was made by laying a clean sheet atop a freshly printed impression and passing both through the press. It was created as a cul-de-lampe or tailpiece for an article on Buhot by Octave Uzanne, published in the journal Le Livre in…

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Buhot made a number of prints after paintings by others, usually for commercial ends—as images, for example, to be included in a book or catalogue. It was a way of making money for a young artist. This print, however, is not among them. It is,…

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Two impressions of Funeral Procession, ostensibly in the same state, are included because they are so distinct from one another. The difference is due to the choice of paper and the style of printing. The other impression is almost stark in its…

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Funeral Procession is the only one of Buhot’s etchings destined from the beginning to be a color print, even though a number of his plates were at times printed in various colors. The coloring here is meant less for lifelike representation than for…

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One can assume that the location in this image is Normandy, for Buhot returned many times to his hometown. Comparison of two impressions (the first and final state) reveals how completely distinct they are, as if two different artists, working side…

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Comparison of two impressions (the first and final state) reveals how completely distinct they are, as if two different artists, working side by side, interpreted the same scene. With the addition of etching and more detail, the final plate becomes a…

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The lonely painter, laden with his gear and trudging along the sand by the wave-encrusted sea, provides a melancholic but straightforward subject. It is transformed, however, into a fantastic image as creatures of the sea and air appear as…

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With the addition of large, intimidating birds in the sky, a darkening of the image, and brightening of the highlights, the scene becomes a surreal phantasmagoria, tempting the viewer to regard the print as an allegory of life and its dangers. In…

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Valognes is seen down its main street, the rue de Fantasie (now boulevard Félix Buhot), looking towards the Church of Saint-Malo. The streets are wet, the umbrellas are out, as are the dogs, and it is a typical day in a small Norman village. It is…

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This scene is in Quinéville, a coastal village in Normandy near Buhot’s hometown of Valognes, where there was a fort that required regular patrol by a watchman. Buhot did a related oil painting of the subject in the same year, of much greater…

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In this second state (in the third state the plate is cancelled, signaling the end of its use by the artist), Buhot changes the image into a true night scene. The complex of techniques, particularly the stop-out (the use of varnish to prevent an area…

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Victor Hugo was Buhot’s favorite poet, and this fantastic image was originally intended to be an illustration for an edition of Hugo’s Les Voix intérieures, les rayons et les ombres. The work is, however, more an evocation of Hugo’s poetry and…

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The first part of the title refers to a section of poems in Charles Baudelaire’s Les Fleurs du mal; the second part is simply descriptive. The etching is based on a painting of 1876 and is realized in reverse. The cab is engulfed in darkness, and…

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When still in the possession of the artist’s widow, this unusual work was listed as a drawing. It is, however, a painting on canvas in an unusual technique, apparently invented by Edgar Degas, called peinture à l’essence, in which the oil is…

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The basis of this print is a heliogravure after a watercolor by Buhot’s father-in-law, Henry Johnston. Heliogravure, a photomechanical reproductive technique, was only the beginning. Through a myriad of techniques employed over several states,…
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