Who painted Ryno et Hermangarde?

Ryno et Hermangarde was painted by Félix-Hilaire Buhot in 1880.

Where can I see Ryno et Hermangarde?

Ryno et Hermangarde is held by National Gallery of Art.

What movement is Ryno et Hermangarde?

Ryno et Hermangarde is associated with Impressionism.

Artwork

Ryno et Hermangarde

Félix-Hilaire Buhot , 1880

Ryno et Hermangarde 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

Félix‑Hilaire Buhot’s print Ryno et Hermangarde, executed in 1880, combines several intaglio methods on Japanese paper. The work presents a solitary rider astride a horse poised on a beach, the animal’s front legs lifted as if caught in a sudden movement. Above, a turbulent sky filled with clouds and distant birds adds a dramatic backdrop.

Subject & Meaning

The composition centers on a figure in a long coat and hat, suggesting a traveler or perhaps a military officer, confronting the elemental forces of sea and sky. The horse’s dynamic pose and the storm‑laden atmosphere convey a sense of tension between human agency and nature’s unpredictability.

Technique & Style

Buhot employed a complex suite of intaglio techniques—drypoint, soft‑ground etching, salt‑lift, aquatint in spirit ground, and roulette—to achieve varied line quality and tonal depth. The interplay of crisp lines and soft washes creates texture that hints at both realistic detail and the looser, atmospheric qualities associated with late‑19th‑century French printmaking.

History & Provenance

Created in 1880, Ryno et Hermangarde reflects the period when Buhot was experimenting with mixed intaglio processes. The work is catalogued among his prints that explore narrative scenes, though specific ownership records prior to its inclusion in museum collections remain limited.

Context

During the 1880s, French artists were increasingly interested in merging traditional engraving with newer, more expressive techniques. Buhot’s use of Japanese paper aligns with the broader Japonisme trend, while his subject matter—an isolated rider against a stormy seascape—echoes contemporary literary and artistic preoccupations with solitude and the sublime.