Who painted Back of a Woman (Dos de Femme)?

Back of a Woman (Dos de Femme) was painted by Paul-Albert Besnard in 1889.

Where can I see Back of a Woman (Dos de Femme)?

Back of a Woman (Dos de Femme) is held by National Gallery of Art.

What movement is Back of a Woman (Dos de Femme)?

Back of a Woman (Dos de Femme) is associated with Impressionism.

Artwork

Back of a Woman (Dos de Femme)

Paul-Albert Besnard , 1889

Back of a Woman (Dos de Femme) is an ink print by the Impressionist artist Paul-Albert Besnard. It dates from 1889 and is held in the collection of the National Gallery of Art.

About this work

Overview

Back of a Woman (Dos de Femme) is a print produced in 1889 by French artist Albert Besnard. Executed on Van Gelder laid paper, the work combines etching with roulette, a texturing tool, to render a delicate yet tactile surface. The piece measures the back and shoulders of a female figure, captured from behind, and exemplifies Besnard’s interest in intimate, everyday moments.

Subject & Meaning

The image presents a solitary woman seen from the rear, her loose hair cascading along the spine while her arms rest upon a darkened plane. The composition emphasizes the curvature of the back and the soft flow of hair, suggesting a quiet, private presence rather than overt narrative. The lack of facial features directs attention to the body's form and the subtle interplay of light and shadow.

Technique & Style

This combination yields a sketchy, almost spontaneous line quality, interspersed with areas of dense shading that convey depth.

Besnard employed a hybrid process, first incising lines with traditional etching methods, then applying a roulette— a small, toothed wheel that scrapes the plate—to generate fine, grainy textures. This combination yields a sketchy, almost spontaneous line quality, interspersed with areas of dense shading that convey depth. The overall effect balances precision with a loose, painterly feel characteristic of late‑19th‑century French printmaking.

Context

Created toward the end of the 1880s, the work reflects contemporary French interests in exploring the human figure through new print techniques. Besnard, known for both painting and printmaking, often investigated intimate domestic scenes; this piece aligns with that focus, offering a momentary glimpse into personal space. Its production on high‑quality Van Gelder paper underscores the period’s emphasis on material excellence in fine art prints.