Who painted Un Tir aux Bastions?

Un Tir aux Bastions was painted by Maxime Lalanne in 1871.

Where can I see Un Tir aux Bastions?

Un Tir aux Bastions is held by National Gallery of Art.

What movement is Un Tir aux Bastions?

Un Tir aux Bastions is associated with Impressionism.

Artwork

Un Tir aux Bastions

Maxime Lalanne , 1871

Un Tir aux Bastions is an ink print by the Impressionist artist Maxime Lalanne. It dates from 1871 and is held in the collection of the National Gallery of Art.

About this work

Overview

The image captures a lively riverside scene populated by pedestrians, horsemen, and a crowd gathered before a stepped, pyramidal structure.

Created in 1871, *Un Tir aux Bastions* is an etching on laid paper by the French printmaker Maxime Lalanne. The image captures a lively riverside scene populated by pedestrians, horsemen, and a crowd gathered before a stepped, pyramidal structure. Trees line the walkway, while distant houses, rolling hills, and a cloud‑filled sky complete the composition. The work belongs to the National Gallery of Art in Washington.

Subject & Meaning

The print depicts a bustling public space beside a river, suggesting a moment of communal activity perhaps linked to a military exercise, as implied by the title’s reference to a “tir” (shooting). The central stepped edifice serves as a focal point, drawing the eye toward the gathering, while the surrounding figures and landscape convey a sense of everyday life intersecting with organized event.

Technique & Style

Lalanne employed fine, closely spaced lines to render light, shadow, and texture, achieving a soft, sketch‑like quality. The use of etching on laid paper allows for delicate tonal variations, a hallmark of mid‑19th‑century French printmaking. The overall effect aligns with the realist attention to detail and anticipates early Impressionist interests in atmosphere and fleeting moments.

History & Provenance

After its creation, the etching entered the collection of the National Gallery of Art, where it remains on view. Its acquisition reflects the museum’s broader effort to represent French printmaking of the late nineteenth century, and it stands as a documented example of Lalanne’s prolific output in both etching and charcoal.