Who painted Feuilles d'Anes du Midi (Sheet of Donkeys from the South)?

Feuilles d'Anes du Midi (Sheet of Donkeys from the South) was painted by Félix-Hilaire Buhot in 1873.

Where can I see Feuilles d'Anes du Midi (Sheet of Donkeys from the South)?

Feuilles d'Anes du Midi (Sheet of Donkeys from the South) is held by National Gallery of Art.

What movement is Feuilles d'Anes du Midi (Sheet of Donkeys from the South)?

Feuilles d'Anes du Midi (Sheet of Donkeys from the South) is associated with Romanticism.

Artwork

Feuilles d'Anes du Midi (Sheet of Donkeys from the South)

Félix-Hilaire Buhot , 1873

Feuilles d'Anes du Midi (Sheet of Donkeys from the South) is an ink print by the Romanticist artist Félix-Hilaire Buhot. It dates from 1873 and is held in the collection of the National Gallery of Art.

About this work

Overview

Félix‑Hilaire Buhot’s 1873 etching titled *Feuilles d’Anes du Midi* (Sheet of Donkeys from the South) presents a rural tableau rendered on laid paper. The work captures a moment in a southern landscape where three donkeys and a robed figure occupy the foreground, while distant hills and modest structures recede into the background.

Subject & Meaning

The composition centers on three donkeys, each rendered with individual characteristics, accompanied by a solitary individual clothed in a long robe and hat. The juxtaposition of the animals with the human figure suggests a quotidian scene of agrarian labor, while the surrounding terrain hints at the broader environment of southern France.

Technique & Style

Executed through traditional intaglio etching, Buhot employed fine, incised lines to model texture and delineate form. Variations of hatching and cross‑hatching generate a nuanced chiaroscuro, contrasting deep shadows with lighter planes. The tactile quality of the laid paper surface enhances the sense of depth, inviting close inspection of the intricate details.

History & Provenance

Created in 1873, the print is part of Buhot’s early output, a period when he explored rural subjects through printmaking. While specific ownership records are scarce, the work has circulated among collections that focus on 19th‑century French etchings, reflecting its relevance to studies of regional genre scenes and the artist’s technical development.