Who painted Ville d’Avray?

Ville d’Avray was painted by Maxime Lalanne in 1876.

Where can I see Ville d’Avray?

Ville d’Avray is held by National Gallery of Art.

What movement is Ville d’Avray?

Ville d’Avray is associated with Impressionism.

Artwork

Ville d’Avray

Maxime Lalanne , 1876

Ville d’Avray is an ink print by the Impressionist artist Maxime Lalanne. It dates from 1876 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1876, *Ville d’Avray* is an etching on laid paper by French printmaker Maxime Lalanne. The composition depicts a tranquil riverside setting, populated by three figures and a distant village, rendered with delicate line work that captures a fleeting moment of everyday life. The piece is part of the National Gallery of Art’s collection in Washington, D.C.

Subject & Meaning

Beyond them, a sparse grove of leafless trees and modest buildings rise on the far side, suggesting a modest rural settlement.

The scene shows a quiet bank of a river where two individuals stand together, gazing toward the water, while a third bends, perhaps gathering an object from the shore. Beyond them, a sparse grove of leafless trees and modest buildings rise on the far side, suggesting a modest rural settlement. The work conveys a sense of calm observation and the simple rhythms of a 19th‑century French countryside.

Technique & Style

Lalanne employed traditional copper‑plate etching, using fine, cross‑hatching to render the rippling surface of the water and the texture of the trees. The laid paper’s faint ribbing adds subtle tonal variation, while the artist’s economical line work creates depth without heavy shading. The overall effect balances precise detail with a loose, spontaneous handling of forms, characteristic of Lalanne’s printmaking approach.

History & Provenance

After its completion in the late 1870s, the print entered the market as part of Lalanne’s prolific output of landscape etchings. It was later acquired by the National Gallery of Art, where it remains on view as an example of French etching practice during the period following the 1870s. The work’s presence in the museum reflects its continued relevance to studies of 19th‑century print culture.