Who painted Head of a Man (Tete d'homme)?

Head of a Man (Tete d'homme) was painted by Alphonse Legros in 1874.

Where can I see Head of a Man (Tete d'homme)?

Head of a Man (Tete d'homme) is held by National Gallery of Art.

What movement is Head of a Man (Tete d'homme)?

Head of a Man (Tete d'homme) is associated with Romanticism.

Artwork

Head of a Man (Tete d'homme)

Alphonse Legros , 1874

Head of a Man (Tete d'homme) is an ink print by the Romanticist artist Alphonse Legros. It dates from 1874 and is held in the collection of the National Gallery of Art.

About this work

Overview

Alphonse Legros produced the drypoint print *Head of a Man* in 1874. Executed with brown ink on a metal plate, the work presents a close‑up study of a male head turned slightly away from the viewer. The image is rendered in a compact format, emphasizing the facial features and the textured treatment of hair and beard.

Technique & Style

Legros employed the drypoint method, incising lines directly into the plate with a sharp needle. The resulting burr creates a velvety, tonal quality that is built up through dense cross‑hatching. This approach yields a rich, layered surface where overlapping strokes suggest shadow and the tactile quality of the subject’s hair and facial contours.

Subject & Meaning

The composition focuses on a solitary male figure, rendered with minimal background. The quick, textured strokes that form the beard and hair give the surface a slightly unruly, almost fur‑like appearance, while the clear delineation of the nose, ear, and jaw conveys a straightforward, observational study of human physiognomy.

History & Provenance

Legros, a French‑born artist who later settled in England, was a central figure in the 19th‑century British etching revival. *Head of a Man* reflects his dual role as a practitioner and teacher of printmaking, illustrating the pedagogical emphasis he placed on mastering line and tone through direct engraving.

Context

Created during a period when British artists were re‑examining the possibilities of intaglio processes, the print aligns with the revival’s interest in expressive line work and the revival of traditional techniques. Legros’s work contributed to the broader movement that sought to elevate printmaking from reproductive craft to a respected artistic medium.