Who painted Les Adieux (The Parting)?

Les Adieux (The Parting) was painted by Félix-Hilaire Buhot in 1880.

Where can I see Les Adieux (The Parting)?

Les Adieux (The Parting) is held by National Gallery of Art.

What movement is Les Adieux (The Parting)?

Les Adieux (The Parting) is associated with Impressionism.

Artwork

Les Adieux (The Parting)

Félix-Hilaire Buhot , 1880

Les Adieux (The Parting) is an ink print by the Impressionist artist Félix-Hilaire Buhot. It dates from 1880 and is held in the collection of the National Gallery of Art.

About this work

Overview

Les Adieux (The Parting) is a black‑and‑white print executed in 1880 by French artist Félix‑Hilaire Buhot. The work combines etching, drypoint, roulette and aquatint on Japanese paper, producing a layered surface that merges line and tone. It measures within the typical dimensions of Buhot’s intimate prints and exemplifies his interest in atmospheric interior scenes.

Subject & Meaning

The composition depicts two figures in close proximity within a dimly lit interior. One figure cradles a small dog while the other leans forward, suggesting a moment of farewell or intimate conversation. A faint doorway and a modest shelf with assorted objects frame the scene, while peripheral sketches of faces and abstract shapes echo fleeting thoughts or memories surrounding the encounter.

Technique & Style

Buhot employed a hybrid printmaking process: etched lines define the figures, drypoint adds delicate, velvety edges, roulette work creates fine tonal textures, and aquatint with spirit ground supplies broad, grainy shadows. The interplay of crisp incisions and smudged areas generates a chiaroscuro effect, emphasizing the somber mood and the tactile quality of the paper support.

History & Provenance

The print has circulated through private collections and museum holdings, reflecting its recognition among connoisseurs of 19th‑century French printmaking.

Created in 1880, Les Adieux belongs to the period when Buhot was exploring the expressive potential of mixed intaglio techniques. The print has circulated through private collections and museum holdings, reflecting its recognition among connoisseurs of 19th‑century French printmaking. Documentation traces its ownership to several European collectors before entering its present institutional context.