Peppina

Besnard employed drypoint to carve fine, scratchy lines directly into the plate, creating rich, velvety blacks and uneven edges. Etching provided finer contours, particularly around the face. The crisscrossed marks in the collar and the loose, irregular strokes in the hair exploit the medium’s capacity for texture, rejecting smoothness in favor of a hand-wrought, almost spontaneous appearance.

The print was made in 1919, near the end of Besnard’s career, during a period when he increasingly favored intimate, experimental prints over large-scale paintings. Peppina likely stems from private sessions, possibly with a model or acquaintance. Its survival in museum collections suggests early recognition of its technical nuance, though it never entered mainstream public discourse.

In the postwar years, many European artists turned toward introspective, smaller-scale works. Besnard’s shift from grand historical compositions to quiet portraits like Peppina reflects this broader trend. The print aligns with contemporary interest in the expressive potential of printmaking, particularly its capacity to convey psychological depth through line and texture rather than color or detail.

Peppina remains a quiet example of Besnard’s late graphic work, valued for its restraint and technical honesty. It is studied for its use of drypoint’s tactile qualities and its departure from academic portraiture. While not widely reproduced, it continues to inform discussions on early 20th-century printmaking as a vehicle for personal expression.