Bresdin, the eccentric “poet” of Romantic landscape, was an outsider who had more of a connection with writers such as Baudelaire, Champfleury, Gautier, and Victor Hugo than among artists, with the exception of his loyal disciple, Odilon Redon.
Date
Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Pen and black ink, on tan wove tracing paper, laid down on cream wove paper
Dimensions
29.5 × 25.1 cm (11 5/8 × 9 15/16 in.)
Credit Line
Worcester Sketch Fund
Reference Number
1963.811
IIIF Manifest
The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.
Harold Joachim, French Drawings and Sketchbooks of the Nineteenth Century (Chicago, 1979), no. 1A10.
Koln, “Die Schwarze Sonne des Traums,” 1972-1973, cat. 782.
The Arts Club of Chicago, “Horse as Motif,” January 15-February 22, 1975, cat. 46.
Paris, Musée du Louvre, “Dessins français de l’Art Institute de Chicago de Watteau à Picasso,” October 15, 1976-January 17, 1977, n.p., cat. 50 (ill.).
Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 104-105, cat. 49 (ill.).
The Hague, Gemeentemuseum, “Rodolphe Bresdin,” October 27, 1978-January 14, 1978, cat. 141.
The Art Institute of Chicago, May 1, 1987-July 24, 1989.
Roger Marx (1859-1913), Paris; by descent to his son, Claude Roger-Marx (died 1977), Paris [invoice]. Sold by Nathan Chaikin to the Art Institute, 1963.
Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.
