PAUL HUET (1804-1869) - Receive artist alerts » - More items from this artist »

Black chalk with white chalk heightening on blue paper.

Titled on the lower left hand corner ‘Ferme d’Isigny (Normandie)’

450.00mm wide    295.00mm high    (17.72 inches wide  11.61 inches high)

Red stamp of the artist’s studio on the lower right hand corner (Lugt 1268); The Societe Frits Lugt pour l’Etude des Marques de Collections, Paris (their stamp SFL, not in Lugt, on the reverse of the sheet).

Related Readings: Rene Paul Huet, Paul Huet, d’apres ses notes, sa correspondance, ses contemporains, Paris (1911); P. Miquel, Le Paysage francais au XIXe siecle, 1824-1874, Maurs-la-Jolie (1975), pp 194-247; Colnaghi, Master Drawings, New York – London (2001), No 46.

Very good.

The style and technique of the present sheet is indeed characteristic of the graphic work of Paul Huet. Here, the artist displays his astonishing feeling for an atmospheric landscape without any pretension whilst, at the same time, making the elements subservient to his emotional eloquence. As he once wrote: ‘pour le paysage la couleur est indispensable: c’est la plus vive expression, il ne peut s’en passer, pas plus que du dessin’, thus underlining his deep and heartfelt relationship with nature.

It is the landscape paintings of John Constable, exhibited at the Salon of 1824, which were not only an early influence but also a revelation to the young Huet. Following his own Salon debut in 1827, Huet accompanied Bonington on a sketching tour of the Normandy coast - an area he returned to many times. This was to be the first of his wide-ranging travels throughout France, the artist often returning to the regions of Normandy, Auvergne and Provence, as well as the forests of Compiegne and Fontainebleau, closer to Paris. Wherever he went, Huet made numerous drawings and sketches sur le motif in pencil, pastel and watercolour, all permeating with a remarkable feeling for light and colour.

Printer, draughtsman and printmaker, Paul Huet was truly one of the great French Romantic landscape artists of his generation. As a young boy and only child, he spent many a summer drawing and sketching on the Ile Seguin, near Paris, and after leaving school decided to take up studies as an artist. It was while studying at the Ecole des Beaux-Arts that he visited the atelier of Baron Gros in 1820 where he met and befriended the young Englishman Richard Parkes Bonington. At around the same time, Paul Huet also came into contact with another young artist, Eugene Delacroix, who was to remain a lifelong friend. It was at l’ Ecole that the artists Theodore Rousseau, Jules Dupre, Diaz and the great painter/poet Victor Hugo were directly influenced by Huet. At least 17 French museums have works by Paul Huet apart from his graphic work held at the Louvre Museum, Paris. Elizabeth Marechaux-Laurentin will include the present sheet in her forthcoming Catalogue Raisonne of the Drawings of Paul Huet.

gbp 2500 (Pound Sterling)

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