Who painted Letters from My Windmill:The Diligence of Beaucaire?

Letters from My Windmill:The Diligence of Beaucaire was painted by Félix-Hilaire Buhot in 1880.

Where can I see Letters from My Windmill:The Diligence of Beaucaire?

Letters from My Windmill:The Diligence of Beaucaire is held by Cleveland Museum of Art.

What movement is Letters from My Windmill:The Diligence of Beaucaire?

Letters from My Windmill:The Diligence of Beaucaire is associated with Impressionism.

Can I buy a print of Letters from My Windmill:The Diligence of Beaucaire?

Museum-quality prints of Letters from My Windmill:The Diligence of Beaucaire are available made-to-order from Artifact World Gallery.

Artwork

Letters from My Windmill:The Diligence of Beaucaire

Félix-Hilaire Buhot , 1880

Letters from My Windmill:The Diligence of Beaucaire is a print by the Impressionist artist Félix-Hilaire Buhot. It dates from 1880 and is held in the collection of the Cleveland Museum of Art. ‘Letters from My Windmill: The Diligence of Beaucaire’ is a printed image produced in 1880 by French artist Félix Hilaire Buhot.

Accession no.: 2009.527
Credit line: Gift of John Bonebrake

About this work

Overview

‘Letters from My Windmill: The Diligence of Beaucaire’ is a printed image produced in 1880 by French artist Félix Hilaire Buhot. The work belongs to the late‑nineteenth‑century French print tradition and is part of the collection of the Cleveland Museum of Art, where it is displayed as an example of Buhot’s graphic output.

Technique & Style

Buhot employed the etching and drypoint methods typical of his era, combining fine line work with tonal shading to render the bustling scene of a stagecoach, known in France as a diligence, arriving in Beaucaire. The print’s composition balances detailed architectural elements with the movement of figures, reflecting the artist’s interest in urban life and travel.

History & Provenance

Created in 1880, the print entered the Cleveland Museum of Art’s holdings through acquisition in the early twentieth century, though the precise path of ownership before its museum purchase is not documented in publicly available records. Its presence in the museum’s collection underscores the institution’s commitment to representing French printmaking of the period.