a) Looking for the Enemy (recto); b) Sketch for Looking for the Enemy (verso)

Both sides portray a single narrative scene, though the exact content is not described in the source material. The title suggests a search or surveillance motif, possibly reflecting the heightened tension of the World War I era when Forain produced the work. The juxtaposition of finished and sketch versions invites viewers to consider the process of observation and interpretation inherent in the act of ‘looking for’ an adversary.

Forain employed a brush rather than a pen, allowing for fluid, gestural strokes that convey movement and atmosphere in the monochrome medium. The use of black ink on wove paper provides a uniform surface that emphasizes line quality and contrast. This approach aligns with Forain’s broader practice in drawing and printmaking, where he often explored rapid, expressive marks within a controlled compositional framework.

Created between 1914 and 1919, the drawing reflects a period when Forain enjoyed considerable contemporary acclaim, surpassing many of his Impressionist colleagues in popularity. Although his reputation has waned in later decades, the work remains documented in the collection of the National Gallery of Art, Washington, where it is referenced among his ink drawings and preparatory studies.

The early twentieth‑century milieu in which Forain worked was marked by the upheavals of World War I, a time that prompted many artists to address themes of conflict, surveillance, and societal anxiety. Forain’s choice of a single‑sheet, double‑sided format underscores the immediacy of his response to contemporary events, offering both a finished visual statement and the underlying investigative process.