Browse Items (9 total)

This little painting, unsigned and of unknown date but authenticated by the artist’s son Jean, is a clear example that Buhot could paint in an Impressionist style. Not that he frequently did, but he could. Buhot’s paintings are rather remarkable…

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…

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…

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,…

The view is of the harbor of Saint-Malo, apparently looking across the estuary toward the town of Dinard, distantly seen between the masts of the ships. With its symphonic margins focusing on the same elements as the principal subject—sailing…

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…

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…

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…

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…