Who painted Les Malades et les medicins: No. 4, Lew Homéopathes?

Les Malades et les medicins: No. 4, Lew Homéopathes was painted by Cham in 1804.

Where can I see Les Malades et les medicins: No. 4, Lew Homéopathes?

Les Malades et les medicins: No. 4, Lew Homéopathes is held by Cleveland Museum of Art.

What movement is Les Malades et les medicins: No. 4, Lew Homéopathes?

Les Malades et les medicins: No. 4, Lew Homéopathes is associated with Romanticism.

Artwork

Les Malades et les medicins: No. 4, Lew Homéopathes

Cham , 1804

Les Malades et les medicins: No. 4, Lew Homéopathes is a print by the Romanticist artist Cham. It dates from 1804 and is held in the collection of the Cleveland Museum of Art. Les Malades et les medicins: No.

About this work

Overview

Les Malades et les medicins: No. 4, Lew Homéopathes is a print executed around 1804 by the artist known as Cham. The work is part of the collection of the Cleveland Museum of Art. It presents a brief, informal study of two elderly figures within a poorly lit interior, rendered with rapid, gestural lines that emphasize texture and expression over detail.

Subject & Meaning

The composition depicts two aged men: one stands beside a table, his posture tense and his expression vexed, while the other sits slumped in a chair, supporting himself with a cane and wrapped in a shawl. The standing figure appears to be addressing or admonishing the seated companion, suggesting a moment of discussion—perhaps concerning health or medical practice, hinted at by the title’s reference to homeopaths.

Technique & Style

Cham employs a loose, sketch‑like line work that captures the wrinkles of the faces and the rumpled clothing with immediacy. The drawing relies on stark contrasts of light and shadow, creating a chiaroscuro effect that deepens the sense of a dimly lit room. The rapid execution gives the impression of a spontaneous observation rather than a finished, polished portrait.

History & Provenance

Created circa 1804, the print entered the Cleveland Museum of Art’s holdings at an unspecified date, where it remains accessible to scholars and the public. Its attribution to Cham situates it within the early nineteenth‑century French print tradition, though detailed records of its early ownership are not documented in the museum’s catalog.