Who painted Vue d’Église et Entrée du Village d’Essômes?

Vue d’Église et Entrée du Village d’Essômes was painted by Maxime Lalanne in 1880.

Where can I see Vue d’Église et Entrée du Village d’Essômes?

Vue d’Église et Entrée du Village d’Essômes is held by National Gallery of Art.

What movement is Vue d’Église et Entrée du Village d’Essômes?

Vue d’Église et Entrée du Village d’Essômes is associated with Impressionism.

Can I buy a print of Vue d’Église et Entrée du Village d’Essômes?

Museum-quality prints of Vue d’Église et Entrée du Village d’Essômes are available made-to-order from Artifact World Gallery.

Artwork

Vue d’Église et Entrée du Village d’Essômes

Maxime Lalanne , 1880

Vue d’Église et Entrée du Village d’Essômes is an ink print by the Impressionist artist Maxime Lalanne. It dates from 1880 and is held in the collection of the National Gallery of Art.

About this work

Overview

Vue d’Église et Entrée du Village d’Essômes is an 1880 etching by French artist Maxime Lalanne, executed on chine collé laid paper. This print captures a serene rural scene, characteristic of Lalanne’s detailed and atmospheric depictions of everyday settings.

Subject & Meaning

The etching portrays a tranquil village scene centered around a church with a distinctive tall spire and arched windows, surrounded by simpler structures and lined with trees. A few pedestrians are shown near the church, emphasizing the quiet, daily life of the village.

Technique & Style

Lalanne utilized etching techniques to achieve fine linework and textures, leveraging the medium’s ability to retain ink in metal plate grooves. The resultant monochromatic print has a sketchy, hand-drawn quality, blending the precision of etching with the intimacy of a drawing.

History & Provenance

Created in 1880, this work reflects Lalanne’s proficiency in 19th-century French printmaking, known for its technical exactness and capturing of mundane, rural themes.

Context

Part of a broader 19th-century French artistic trend focusing on rural life, this etching aligns with the period’s interest in detailed, realistic representations of everyday environments.