Who painted La Traversée (The Passage)?

La Traversée (The Passage) was painted by Félix-Hilaire Buhot in 1882.

Where can I see La Traversée (The Passage)?

La Traversée (The Passage) is held by National Gallery of Art.

What movement is La Traversée (The Passage)?

La Traversée (The Passage) is associated with Impressionism.

Artwork

La Traversée (The Passage)

Félix-Hilaire Buhot , 1882

La Traversée (The Passage) is an ink print by the Impressionist artist Félix-Hilaire Buhot. It dates from 1882 and is held in the collection of the National Gallery of Art. Félix‑Hilaire Buhot’s print *La Traversée* (The Passage), executed in 1882, is a black‑and‑brown composition on laid paper.

About this work

Overview

Félix‑Hilaire Buhot’s print *La Traversée* (The Passage), executed in 1882, is a black‑and‑brown composition on laid paper. The work combines etching, drypoint, roulette, aquatint and stop‑out techniques, resulting in a densely textured surface that emphasizes line and tone.

Subject & Meaning

The lower left corner contains rapid, sketch‑like marks of a dog, a boat and additional figures, suggesting movement and transition.

The image presents a crowded urban scene divided into three vertical zones. At the upper level a heavily clothed figure ascends a ladder toward a modest balcony occupied by a small group. Beneath, a throng gathers beneath a bridge, some seated on benches, others standing or leaning against the masonry. The lower left corner contains rapid, sketch‑like marks of a dog, a boat and additional figures, suggesting movement and transition.

Technique & Style

Buhot employs a mixture of intaglio processes: etched lines define the architecture, while drypoint adds soft, velvety edges. The roulette tool creates stippled textures, and aquatint provides broad areas of tone. Stop‑out areas preserve the paper’s brown hue, contributing to the overall grainy, cross‑hatched appearance that conveys a sense of immediacy.

History & Provenance

Created in the early 1880s, *La Traversée* reflects Buhot’s interest in urban life and his experimentation with complex printmaking methods. The work has been documented in several collections of 19th‑century French prints, though specific ownership details remain limited in published records.

Context

The late nineteenth century saw a surge in prints that depicted modern cityscapes and everyday activity. Buhot’s choice of a bridge setting aligns with contemporary concerns about industrialization, mobility, and the social dynamics of public spaces.