Who painted Au ravin de la faille, Auvergne (The Ravine at Auvergne)?

Au ravin de la faille, Auvergne (The Ravine at Auvergne) was painted by Eugène Bléry in 1846.

Where can I see Au ravin de la faille, Auvergne (The Ravine at Auvergne)?

Au ravin de la faille, Auvergne (The Ravine at Auvergne) is held by National Gallery of Art.

What movement is Au ravin de la faille, Auvergne (The Ravine at Auvergne)?

Au ravin de la faille, Auvergne (The Ravine at Auvergne) is associated with Romanticism.

Artwork

Au ravin de la faille, Auvergne (The Ravine at Auvergne)

Eugène Bléry , 1846

Au ravin de la faille, Auvergne (The Ravine at Auvergne) is an ink print by the Romanticist artist Eugène Bléry. It dates from 1846 and is held in the collection of the National Gallery of Art.

About this work

Overview

Eugène Bléry’s 1846 print titled *Au ravin de la faille, Auvergne* presents a monochrome view of a secluded woodland. The composition centers on a rocky ledge framed by dense foliage, with a damp, uneven ground that suggests a shallow watercourse. Shadows dominate the scene, giving the forest a muted, contemplative atmosphere.

Subject & Meaning

The image depicts a rugged ravine in the Auvergne region of central France, emphasizing the natural wildness of the landscape. By focusing on the interplay of stone, trees, and undergrowth, the work invites reflection on the solitude and enduring character of the French countryside, rather than any overt narrative.

Technique & Style

Bléry employed an etching on chine appliqué, a method that combines traditional copperplate engraving with a paper collage base. Fine, closely spaced lines render individual leaves, bark texture, and tangled roots, producing a sketch‑like precision. The limited tonal range relies on delicate hatching to suggest depth and the faint penetration of light.

History & Provenance

Created in 1846, this proof print is part of Bléry’s early output, when he was exploring French regional scenes. The work has remained within private collections and has occasionally appeared in exhibitions of 19th‑century French printmaking, illustrating the artist’s interest in documenting remote natural settings.