{"id":31627,"date":"2026-09-07T16:30:27","date_gmt":"2026-09-07T15:30:27","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=31627"},"modified":"2026-09-07T14:24:35","modified_gmt":"2026-09-07T13:24:35","slug":"henri-rivieres-lithographs","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2026\/09\/07\/henri-rivieres-lithographs\/","title":{"rendered":"Henri Rivi\u00e8re’s lithographs"},"content":{"rendered":"

\"riviere03.jpg\"<\/p>\n

Aspects de la nature: La Baie (1897).<\/em><\/p>\n

Henri Rivi\u00e8re (1864\u20131951) was a French painter and printmaker whose Thirty-six Views of the Eiffel Tower<\/em><\/a> (1902) is one of my favourite picture series, a Parisian response to Hokusai’s Thirty-six Views of Mount Fuji<\/em>. Rivi\u00e8re’s series is beautifully done, printed in autumnal hues, bound in boards that combine Art Nouveau design with the traditional styling of Japanese books, and with each print signed with a small red monogram. The same monogram\u2014or a variation of it\u2014turns up on many of his other prints, serving to remind the viewer of the artist’s debt to Japanese printmakers. Rivi\u00e8re’s lithographs<\/a> apply the traditional Japanese arrangement of minimal outline and flat colour to French subjects, with an equivalent care taken over the choice of view and the structure of the composition. In their realistic detail and use of atmospheric effects this is a side of Rivi\u00e8re’s work that looks forward to the ligne claire<\/em> style of European comic art.<\/p>\n

(Note: several of these samples have artificially applied borders which I’ve left as they are.)<\/em><\/p>\n

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Aspects de la nature: La Falaise (1898).<\/em><\/p>\n

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Aspects de la nature: Le Cr\u00e9puscule (1898).<\/em><\/p>\n

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Paysages parisiens: Du haut des tours de Notre-Dame (1900).<\/em><\/p>\n

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Paysages parisiens: L’\u00eele des Cygnes (1900).<\/em><\/p>\n

<\/p>\n

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Paysages parisiens: L’Institut et la cit\u00e9 (1900).<\/em><\/p>\n

\"riviere12.jpg\"<\/p>\n

Paysages parisiens: Les fortifications (1900).<\/em><\/p>\n

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Paysages parisiens: Paris vu de Montmartre (1900).<\/em><\/p>\n

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La F\u00e9erie des heures: Le premier quartier (1901).<\/em><\/p>\n

\"riviere09.jpg\"<\/p>\n

La F\u00e9erie des heures: Le Vent (1901).<\/em><\/p>\n

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La F\u00e9erie des heures: La neige (1902).<\/em><\/p>\n

\"riviere05.jpg\"<\/p>\n

Aspects de la nature: La For\u00eat (1908).<\/em><\/p>\n

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Aspects de la nature: La plage (1908).<\/em><\/p>\n

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Le Beau Pays de Bretagne: Brume en mer (1915).<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 Henri Rivi\u00e8re\u2019s Eiffel Tower<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Aspects de la nature: La Baie (1897). Henri Rivi\u00e8re (1864\u20131951) was a French painter and printmaker whose Thirty-six Views of the Eiffel Tower (1902) is one of my favourite picture series, a Parisian response to Hokusai’s Thirty-six Views of Mount Fuji. Rivi\u00e8re’s series is beautifully done, printed in autumnal hues, bound in boards that combine … Continue reading “Henri Rivi\u00e8re’s lithographs”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: Henri Rivi\u00e8re's lithographs","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[2],"tags":[],"class_list":["post-31627","post","type-post","status-publish","format-standard","hentry","category-art"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/pq7rV-8e7","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/31627","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=31627"}],"version-history":[{"count":1,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/31627\/revisions"}],"predecessor-version":[{"id":31628,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/31627\/revisions\/31628"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=31627"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=31627"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=31627"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}