Who painted Port de la Plataine à Royan?

Port de la Plataine à Royan was painted by Maxime Lalanne in 1876.

Where can I see Port de la Plataine à Royan?

Port de la Plataine à Royan is held by National Gallery of Art.

What movement is Port de la Plataine à Royan?

Port de la Plataine à Royan is associated with Impressionism.

Can I buy a print of Port de la Plataine à Royan?

Museum-quality prints of Port de la Plataine à Royan are available made-to-order from Artifact World Gallery.

Artwork

Port de la Plataine à Royan

Maxime Lalanne , 1876

Port de la Plataine à Royan is an ink print by the Impressionist artist Maxime Lalanne. It dates from 1876 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower right in image: Lalanne; in graphite bottom left: 7283 / Port de Pleraine a Royan M Lallanne

About this work

Overview

Created in 1876, this etching by French artist François Antoine Maxime Lalanne captures a tranquil harbor at Royan. Executed on laid paper, the image presents a modest scene of water, modest vessels, and a cluster of low-rise buildings perched on a hillside, rendered with a light, sketch‑like touch that emphasizes atmosphere over detail.

Subject & Meaning

The composition centers on a small fleet of boats bobbing on calm waters, their diminutive scale contrasting with the more imposing structures behind them. The arrangement suggests a quiet, everyday port activity, inviting contemplation of the relationship between human habitation and the sea, while the sparse treatment conveys a sense of fleeting observation.

Technique & Style

Lalanne employed traditional etching methods, incising lines into a metal plate and using acid to reveal the design before printing onto laid paper. The marks are deliberately loose, with swift, gestural strokes that suggest water, clouds, and rooftops, leaving much of the surface unfilled to enhance the impression of space and light.

History & Provenance

The work entered the collection of the National Gallery of Art in Washington, D.C., where it remains part of the museum’s holdings of 19th‑century graphic art. Its acquisition reflects the institution’s interest in French printmaking and in Lalanne’s contributions to the medium during a period when etching experienced renewed popularity.