Who painted Morphine Addicts (Morphinomanes)?

Morphine Addicts (Morphinomanes) was painted by Albert Besnard in 1887.

Where can I see Morphine Addicts (Morphinomanes)?

Morphine Addicts (Morphinomanes) is held by National Gallery of Art.

What movement is Morphine Addicts (Morphinomanes)?

Morphine Addicts (Morphinomanes) is associated with Impressionism.

Can I buy a print of Morphine Addicts (Morphinomanes)?

Museum-quality prints of Morphine Addicts (Morphinomanes) are available made-to-order from Artifact World Gallery.

Artwork

Morphine Addicts (Morphinomanes)

Albert Besnard , 1887

Morphine Addicts (Morphinomanes) is an ink print by the Impressionist artist Albert Besnard. It dates from 1887 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower right in graphite: ABesnard
Markings: Marked:None.

About this work

Overview

Albert Besnard’s 1887 etching titled “Morphine Addicts (Morphinomanes)” presents a stark interior scene rendered on wove paper. The composition features two figures reclined on a blurred surface that suggests a bed or couch, rendered in uneven, scratchy lines that convey a sense of immediacy and incompleteness.

Subject & Meaning

One figure lies in a state of sleep or unconsciousness, while the other, a pale‑faced woman with dark hair, sits upright, her gaze directed toward the viewer. Her expression appears weary and concerned, hinting at the physical and psychological toll of morphine dependence.

Technique & Style

The work employs the etching process, in which Besnard incised lines into a metal plate before printing onto paper. The resulting marks are irregular and loosely drawn, emphasizing texture and a raw, unfinished quality that reinforces the work’s somber theme.

History & Provenance

Created in the late nineteenth century, the print reflects contemporary anxieties about drug addiction. While specific ownership records are limited, the piece is catalogued among Besnard’s early prints, marking his engagement with socially charged subjects before his later shift toward decorative and allegorical motifs.