Who painted Funeral Procession on the Boulevard de Clichy?

Funeral Procession on the Boulevard de Clichy was painted by Félix-Hilaire Buhot in 1887.

Where can I see Funeral Procession on the Boulevard de Clichy?

Funeral Procession on the Boulevard de Clichy is held by National Gallery of Art.

What movement is Funeral Procession on the Boulevard de Clichy?

Funeral Procession on the Boulevard de Clichy is associated with Impressionism.

Artwork

Funeral Procession on the Boulevard de Clichy

Félix-Hilaire Buhot , 1887

Funeral Procession on the Boulevard de Clichy is a watercolor print by the Impressionist artist Félix-Hilaire Buhot. It dates from 1887 and is held in the collection of the National Gallery of Art.

About this work

Overview

Félix‑Hilaire Buhot’s 1887 print titled *Funeral Procession on the Boulevard de Clichy* combines multiple printmaking methods—color etching, drypoint, aquatint, roulette, soft‑ground etching applied over a heliogravure—then receives hand‑applied watercolor and gold leaf on wove paper. The composition captures a bustling Parisian boulevard, rendered in a wet‑look street that reflects light, while a horse‑drawn carriage leads a procession through the scene.

Subject & Meaning

The image records a somber yet lively moment: a funeral procession moving along the Boulevard de Clichy, surrounded by pedestrians and onlookers. The central carriage, drawn by a horse, anchors the narrative, while the surrounding crowd and the atmospheric sky suggest the everyday coexistence of grief and urban life in late‑19th‑century Paris.

Technique & Style

Buhot employed a layered approach, beginning with a heliogravure base and adding successive etching techniques—drypoint for fine lines, aquatint for tonal washes, roulette for texture, and soft‑ground for softer edges. He then enhanced the print with watercolor washes and touches of gold, creating a luminous, sketch‑like quality that emphasizes movement and the reflective wet pavement.

History & Provenance

Created in 1887, the work bears the artist’s signature and a French inscription at the bottom, confirming its origin. It was produced as a limited‑edition print, typical of Buhot’s practice of experimenting with mixed media. The piece has circulated among private collections and museum holdings that focus on French printmaking of the Belle Époque.