Six Marines: Interior of a Port

Lithography proliferated rapidly in France so that by 1838 there were some 300 lithographic printing establishments in Paris alone. It became the most popular printmaking technique because lithographs could be printed relatively cheaply and easily in large editions. The technique was suitable for artists working in a variety of styles; its versatility can be used for spontaneous, rapid execution. Here Isabey exploited the ability of lithography to achieve diverse tones, from rich black to any shade of gray. The pale paper was utilized for highlights. The museum has an outstanding collection of early lithography that John Bonebrake enriched with these and many other examples.

A vertically oriented grayscale lithograph depicts a textured harbor scene with intricate line work. A tall, timber-framed house towers on the right above a pier crowded with small figures. To the left, slender masts of sailing vessels rise against a cloudy sky. In the foreground, boats laden with pale cloth rest on a craggy shoreline near a basket and rope. Fine hatching and shadows define the weathered wood and rocky terrain.

Six Marines: Interior of a Port

1833

Eugène Isabey, Morlot, Paris and McLean

(French, 1803–1886)

France, 19th century

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