Floor plan

Artist galleriesAfter Eugène Isabey's contemporaries

After Eugène Isabey's contemporaries

A work made of oil on canvas.
A leafless, ash-white tree trunk has fallen from a broken stump into the wide V of a neighboring tree at the edge of a body of water near a verdant forest in this horizontal landscape painting. The fallen trunk creates a diagonal from near the lower left corner to the upper right. As it fell, it sheared off a substantial branch from a neighboring tree with a dark trunk. The bark where the damaged branch has pulled away is honey-orange, the same color as the leaves at the canopy, which has been pinned under the fallen trunk. Trees, vines, and other vegetation fill the space around and beyond this pair. In the lower right corner of the painting, vines grow over a broken stump, which deep in shadow. Between the stump and fallen tree, the peanut-brown surface of the water is smooth. Tiny in scale beneath the fallen tree and easily overlooked, there are two men and a dog in a boat. One man stands at the back of the boat and pushes it along with a long pole. He wears a tall, brown, cloth hat, a white shirt rolled up to the elbows under a blue vest, and loose-fitting pants. A second man wears a flat-topped, white hat with a black brim, a long, forest-green jacket, and tight-fitting slate-blue pants. He braces a rifle against one shoulder and shoots into the forest. The dog is white with brown spots, and it stands with its front paws on the edge of the boat, presumably ready to spring after the target. A patch of blue sky with puffy white clouds is seen above the trees in the upper left corner. The artist signed and dated the work in the lower right corner: “H. Vernet Rome 1833.”
A work made of pen and brown ink, with traces of graphite, on tan wove paper, laid down on cream wove paper.
A work made of black chalk and charcoal with stumping, heightened with white chalk (recto), and black chalk and charcoal with stumping (verso), on dark tan laid paper.
A work made of watercolor and gouache, with pen and blue ink, over traces of graphite, on ivory wove paper, wrapped and adhered on verso to wood pulp board.
A work made of watercolor and opaque watercolor on cream wove paper.

The works in this room are listed below.

Works in this room

A few works by After Eugène Isabey, then their contemporaries: makers of the same nationality born within 25 years of them, then works from the same century and place.

With their contemporaries

  1. A work made of oil on canvas.
    ShipwreckAfter Eugène Isabey, 19th centuryCourtesy of the Art Institute of Chicago
  2. A leafless, ash-white tree trunk has fallen from a broken stump into the wide V of a neighboring tree at the edge of a body of water near a verdant forest in this horizontal landscape painting. The fallen trunk creates a diagonal from near the lower left corner to the upper right. As it fell, it sheared off a substantial branch from a neighboring tree with a dark trunk. The bark where the damaged branch has pulled away is honey-orange, the same color as the leaves at the canopy, which has been pinned under the fallen trunk. Trees, vines, and other vegetation fill the space around and beyond this pair. In the lower right corner of the painting, vines grow over a broken stump, which deep in shadow. Between the stump and fallen tree, the peanut-brown surface of the water is smooth. Tiny in scale beneath the fallen tree and easily overlooked, there are two men and a dog in a boat. One man stands at the back of the boat and pushes it along with a long pole. He wears a tall, brown, cloth hat, a white shirt rolled up to the elbows under a blue vest, and loose-fitting pants. A second man wears a flat-topped, white hat with a black brim, a long, forest-green jacket, and tight-fitting slate-blue pants. He braces a rifle against one shoulder and shoots into the forest. The dog is white with brown spots, and it stands with its front paws on the edge of the boat, presumably ready to spring after the target. A patch of blue sky with puffy white clouds is seen above the trees in the upper left corner. The artist signed and dated the work in the lower right corner: “H. Vernet Rome 1833.”
    Hunting in the Pontine MarshesHorace Vernet, 1833Courtesy National Gallery of Art, Washington
  3. A work made of pen and brown ink, with traces of graphite, on tan wove paper, laid down on cream wove paper.
    Sketches of Algerian MenEugène Delacroix, c. 1832Courtesy of the Art Institute of Chicago
  4. A work made of black chalk and charcoal with stumping, heightened with white chalk (recto), and black chalk and charcoal with stumping (verso), on dark tan laid paper.
    Standing Academic Male Nude (recto); Sketch of Upper Arm (verso)Eugène Delacroix, 1816Courtesy of the Art Institute of Chicago

Their contemporaries

  1. A work made of watercolor and gouache, with pen and blue ink, over traces of graphite, on ivory wove paper, wrapped and adhered on verso to wood pulp board.
    InspirationGustave Moreau, c. 1893Courtesy of the Art Institute of Chicago
  2. A work made of watercolor and opaque watercolor on cream wove paper.
    Landscape with River GorgeGeorge Sand, 1860/69Courtesy of the Art Institute of Chicago

Their contemporaries, second

  1. A work made of transparent and opaque watercolor on cream wove paper.
    Landscape with RocksGeorge Sand, c. 1868/76Courtesy of the Art Institute of Chicago
  2. The Forest in Winter at Sunset, by Théodore Rousseau, ca. 1846–67
    The Forest in Winter at SunsetThéodore Rousseau, ca. 1846–67Courtesy of The Metropolitan Museum of Art