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Inspiration

Albert Ardail, Jean-Honoré Fragonard, and others

Inspiration

1897

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Inspiration

Albert Ardail, Jean-Honoré Fragonard, and others

Inspiration

Inspiration

1897

Physical Qualities Etching, Sheet: 346 x 273 mm. (13 5/8 x 10 3/4 in.) Image: 241 x 198 mm. (9 1/2 x 7 13/16 in.)
Credit Line The George A. Lucas Collection, purchased with funds from the State of Maryland, Laurence and Stella Bendann Fund, and contributions from individuals, foundations, and corporations throughout the Baltimore community
Object Number 1996.48.77
Remarque: lower left "bird next to book, holding bookmark in beak"
The Baltimore Museum of Art by purchase, 1996; The Maryland Institute College of Art, through Henry Walters, Baltimore, by bequest 1909; from George A. Lucas, Paris

Inscribed: Signed in plate: lower left "Alb. Ardail sc. 1898 / d'après Fragonard" Inscribed in plate: above center "Planche publiée par la Société des Aquafortistes français le ler Juillet 1898 et strictement reservée aux Societaires"

Markings: Publisher's stamp: lower right in blue/purple ink "Aquafortistes" with "142" inscribed in center in pencil (Lugt 18)

Not on View

Explore the Collection Further

BY SAME ARTIST
PRINTS, DRAWINGS & PHOTOGRAPHS
MADAME LA MARQUISE (LA MARQUISE DE BEAUVOIR)
Albert Ardail and Edouard Toudouze
Madame La Marquise (La Marquise de Beauvoir)
1890
INSPIRATION
Ignace Henri Jean Théodore Fantin-Latour
Inspiration (ler planche)
1891
MARIE FRANÇOIS SADI CARNOT
Albert Ardail and Alfred Salmon
Portrait de M. Carnot
1888–1890
INSPIRATION
Ignace Henri Jean Théodore Fantin-Latour
Inspiration (2 planche)
1894
SMOKER NEXT TO A BIRD IN A CAGE
Albert Ardail
Fumeur près d'un oiseau en cage
1895
INSPIRATION
Ignace Henri Jean Théodore Fantin-Latour
Inspiration (2e planche)
1894
MUSLIM MAN IN PROFILE
Albert Ardail
Musulman de profil
1894
THE ABSENT-MINDED. THIS ARTIST, AFTER HAVING BEEN TO THE SALON, IS SEIZED BY A SUBLIME INSPIRATION AND APPROACHES HIS CANVAS. ALL OF A SUDDEN, TONES OF MUSIC, THE MOST PIQUANT EFFECT THE MOST DELICATE TOUCH PROMISING A MASTERPIECE. 2, 3, 4 HOURS GONE BY AND SOMETHING AS APPEALING AS A TITIAN, MICHELANGELO IS LEFT TO POSTERITY..... AFTERWARDS, ONCE HIS EXCITEMENT HAS SUBSIDED, HE REALIZES..... HE HAD FORGOTTEN TO USE THE BRUSH.
Honoré Daumier
Le Distrait. Cet artiste revient du salon, et saisi d’une inspiration sublime il s’approche de sa toile; tout à coup les tons les plus suaves; les effets les plus piquans, la touche la plus délicate promettent un chef-d’œuvre; eux, trois, quatre heures se passent, la postérité l’appelle, il est grand comme le Titien, comme Michel-Ange … puis son imagination se calme, le voilà maître de lui même oh douleur! ….. il n’a fait que remuer les doigts, il n’avait pas pris son pinceau.
1840