Who painted Orage à la Fin du jour?

Orage à la Fin du jour was painted by Paul Huet in 1868.

Where can I see Orage à la Fin du jour?

Orage à la Fin du jour is held by National Gallery of Art.

What movement is Orage à la Fin du jour?

Orage à la Fin du jour is associated with Impressionism.

Can I buy a print of Orage à la Fin du jour?

Museum-quality prints of Orage à la Fin du jour are available made-to-order from Artifact World Gallery.

Artwork

Orage à la Fin du jour

Paul Huet , 1868

Orage à la Fin du jour is an ink print by the Impressionist artist Paul Huet. It dates from 1868 and is held in the collection of the National Gallery of Art.

About this work

Overview

Paul Huet’s 1868 work *Orage à la Fin du jour* is a proof print created by combining etching and drypoint on a chine collé support. The image presents a tranquil water scene—likely a river or lake—framed by distant foliage and a few structures on the right margin, all rendered in a subdued palette of browns and grays.

Subject & Meaning

The composition captures a quiet moment at day’s end, with the water’s surface mirroring the sky and surrounding landscape. The presence of modest buildings suggests a rural setting, while the calm water and soft horizon evoke a contemplative atmosphere, inviting viewers to consider the transition between light and darkness.

Technique & Style

The loose, expressive handling of line aligns the work with mid‑nineteenth‑century tendencies toward Impressionist observation and Realist fidelity to nature.

Huet employed both traditional etching and drypoint, the latter allowing for the characteristic soft, velvety lines that define the foliage and reflections. Executed on chine collé, the paper is adhered to a sturdier backing, enhancing the print’s durability. The loose, expressive handling of line aligns the work with mid‑nineteenth‑century tendencies toward Impressionist observation and Realist fidelity to nature.

History & Provenance

Created as a proof in 1868, the piece reflects Huet’s mature period, when he was exploring atmospheric effects in printmaking. While specific ownership records are limited, the work is documented within catalogues of Huet’s prints and has been cited in studies of French landscape etchings of the era.

Context

During the late 1860s, French artists were increasingly interested in capturing fleeting light and weather conditions, a concern that would later define Impressionism. Huet’s print, with its emphasis on tonal subtlety and natural scene, sits at the intersection of this emerging aesthetic and the established Realist tradition.