Who painted Une Matinèe d'Automne?

Une Matinèe d'Automne was painted by Félix-Hilaire Buhot in 1875.

Where can I see Une Matinèe d'Automne?

Une Matinèe d'Automne is held by National Gallery of Art.

What movement is Une Matinèe d'Automne?

Une Matinèe d'Automne is associated with Impressionism.

Artwork

Une Matinèe d'Automne

Félix-Hilaire Buhot , 1875

Une Matinèe d'Automne is an ink print by the Impressionist artist Félix-Hilaire Buhot. It dates from 1875 and is held in the collection of the National Gallery of Art. Félix‑Hilaire Buhot’s print *Une Matinée d’Automne* was produced in 1875.

About this work

Overview

Executed on thin laid paper, the work combines etching, drypoint and aquatint, resulting in a monochrome image that balances line and tone.

Félix‑Hilaire Buhot’s print *Une Matinée d’Automne* was produced in 1875. Executed on thin laid paper, the work combines etching, drypoint and aquatint, resulting in a monochrome image that balances line and tone. The composition depicts a solitary figure accompanied by a dog traversing an open field beneath skeletal trees, with a barely suggested horizon that conveys the stillness of an early autumn morning.

Subject & Meaning

The scene centers on a lone walker and his dog, set against a sparsely populated landscape. Bare trees rise in the distance, their branches stripped of foliage, while the sky is reduced to a faint line, emphasizing the muted atmosphere. The title reinforces the temporal setting, inviting contemplation of solitude and the quiet transition of the season.

Technique & Style

Buhot employed a combination of etching, drypoint and aquatint to achieve a range of values. Crisscrossing grid‑like incisions divide the paper, creating a structural framework that guides the eye. Darkened patches rendered by aquatint provide depth, while the delicate drypoint lines suggest the figure and dog with a sketch‑like immediacy, highlighting the artist’s interest in form and light.

History & Provenance

Created in the late nineteenth century, the print reflects the period’s fascination with atmospheric studies and the technical possibilities of intaglio processes. Though specific ownership records are limited, the work has been catalogued among Buhot’s prints that illustrate his exploration of rural subjects and his contribution to the development of modern printmaking techniques.