Who painted Jacques Cazotte's "Le Diable amoureux" (2nd vignette)?

Jacques Cazotte's "Le Diable amoureux" (2nd vignette) was painted by Félix-Hilaire Buhot in 1878.

Where can I see Jacques Cazotte's "Le Diable amoureux" (2nd vignette)?

Jacques Cazotte's "Le Diable amoureux" (2nd vignette) is held by National Gallery of Art.

What movement is Jacques Cazotte's "Le Diable amoureux" (2nd vignette)?

Jacques Cazotte's "Le Diable amoureux" (2nd vignette) is associated with Impressionism.

Artwork

Jacques Cazotte's "Le Diable amoureux" (2nd vignette)

Félix-Hilaire Buhot , 1878

Jacques Cazotte's "Le Diable amoureux" (2nd vignette) is an ink print by the Impressionist artist Félix-Hilaire Buhot. It dates from 1878 and is held in the collection of the National Gallery of Art.

About this work

Overview

This 1878 etching and drypoint print, titled 'Le Diable amoureux' (2nd vignette), is attributed to Félix-Hilaire Buhot, based on Jacques Cazotte's work. Executed on moderately thick Japanese paper in black ink, it depicts a tumultuous scene.

Subject & Meaning

The print portrays two entangled figures amidst chaos: one resembling a person with outstretched arms, the other a dark, clawed entity. A partially obscured cityscape with spires and buildings forms the backdrop, also enveloped by the chaotic lines.

Technique & Style

Buhot employed drypoint to scratch lines directly into the metal plate, yielding rough, textured marks. This technique imbues the print with a dynamic, sketch-like quality, emphasizing movement and energy.

History & Provenance

Created in 1878, specific details regarding the print's provenance and exhibition history are not provided in the available information.

Context

The work is part of a broader artistic exploration of Jacques Cazotte's 'Le Diable amoureux', with Buhot's interpretation standing as one of multiple vignettes. The use of etching and drypoint reflects late 19th-century printmaking techniques.

Legacy

The legacy of this specific print is not detailed in the provided sources, though it contributes to the broader recognition of Buhot's printmaking skills and the enduring interest in Cazotte's narrative.