The Forest at Courdemanche

Steinlen employed graphite to build texture through layered, uneven strokes, creating a sense of depth without shading or blending. The ground is suggested by dense, short marks, while the trees are defined by sparse, vertical lines that contrast with the lighter paper. Shadows fall diagonally across the path, enhancing spatial depth. The sketchlike quality—intentionally rough and unpolished—aligns with a direct, observational approach rooted in drawing as a record of perception.

The drawing was made during a period when Steinlen was increasingly drawn to landscapes, following his earlier focus on urban life and social commentary. It likely originated from sketches made during walks in the Courdemanche region of France. While its early ownership is undocumented, it entered institutional collections in the 20th century as interest grew in Steinlen’s non-commercial works, distinguishing them from his widely circulated posters and prints.

In the mid-1890s, French artists were exploring natural subjects beyond academic tradition, influenced by Japanese prints and the rise of plein air practices. Steinlen’s drawing aligns with this trend, though it lacks the polish of Impressionist landscapes. Instead, it shares affinities with the introspective drawings of contemporaries like Degas or Toulouse-Lautrec, emphasizing structure and mood over finish, and reflecting a broader shift toward personal expression in graphic art.

Though less known than his posters, *The Forest at Courdemanche* illustrates Steinlen’s range as a draftsman and his commitment to quiet, unadorned observation. It contributes to a broader understanding of his artistic practice beyond political illustration, revealing an artist attuned to the subtleties of light and form in nature. The work remains a quiet example of how modern draftsmen redefined realism through immediacy and restraint.