Who painted A Nude Woman in a Fur Wrap?

A Nude Woman in a Fur Wrap was painted by Paul-Albert Besnard in 1892.

Where can I see A Nude Woman in a Fur Wrap?

A Nude Woman in a Fur Wrap is held by National Gallery of Art.

What movement is A Nude Woman in a Fur Wrap?

A Nude Woman in a Fur Wrap is associated with Romanticism.

Artwork

A Nude Woman in a Fur Wrap

Paul-Albert Besnard , 1892

A Nude Woman in a Fur Wrap is an ink print by the Romanticist artist Paul-Albert Besnard. It dates from 1892 and is held in the collection of the National Gallery of Art.

About this work

Overview

Albert Besnard’s print titled *A Nude Woman in a Fur Wrap* was produced in 1892. Executed as a proof impression from a later state, the work combines etching and drypoint on laid paper. The composition presents a seated female figure, her form partially concealed by a voluminous fur mantle, set against a dark, indistinct background that emphasizes the intimate atmosphere.

Subject & Meaning

The image captures a woman seated with her legs drawn close to her body, her gaze turned away from the viewer. Her hands rest lightly on her knees, suggesting a moment of quiet introspection. The heavy fur drape both conceals and reveals, creating a tension between exposure and modesty that invites contemplation of privacy and the sensuality of the human form.

Technique & Style

Laid paper contributes a subtle ribbed surface, enhancing the print’s overall depth and tonal variation.

Besnard employed traditional etching alongside drypoint, allowing for a range of line qualities. The etched lines render the surrounding darkness with broad, swirling strokes, while the drypoint work supplies the fine, slightly burr‑laden lines that give the fur its tactile, almost scratchy texture. Laid paper contributes a subtle ribbed surface, enhancing the print’s overall depth and tonal variation.

History & Provenance

Created in the early 1890s, the print reflects Besnard’s interest in the nude genre during a period of heightened experimentation with printmaking methods. The surviving impression is a proof from a later state, indicating that the artist revisited the plate to refine details. While specific ownership records are limited, the work is documented within catalogues of Besnard’s prints and appears in collections focused on 19th‑century French graphic art.