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Henri Rivière, Ile des Cygnes, 1900

Henri Rivière

Henri Rivière’s large colour lithographs confirm his status as a master of decorative printmaking. Following in the footsteps of Japanese printmakers, he designed ‘flat compositions’ with large expanses of colour, strong lines and unusual perspectives. A critic at the time already noted that Rivière’s prints were every bit as complete and nuanced as a painting.

Rivière and shadow theatre

Rivière’s prints are closely related to the theatrical performances he and other artists staged at the nightclub Le Chat Noir. Fairy-tale worlds were evoked in this shadow theatre using zinc figures that moved behind a sheet lit by a lamp. It inspired Rivière in several ways, including the use of silhouettes in his prints.

36 views of the Eiffel Tower

The print album Les trente-six vues de la Tour Eiffel is one of the highpoints of Rivière’s art. The series of 36 prints shows the recently constructed Eiffel Tower from different viewpoints, inspired by the series Thirty-Six Views of Mount Fuji by the Japanese printmaker Katsushika Hokusai. Rather than woodcuts in the Japanese style, however, he turned to modern colour lithography, which meant the album could be published in a large edition.

Henri Rivière, The funeral with umbrellas, 1891

Henri Rivière, The funeral with umbrellas, 1891

Henri Rivière, The Painter on the Eiffel Tower (Le peintre dans la Tour), 1902

Henri Rivière, The Painter on the Eiffel Tower (Le peintre dans la Tour), 1902

Further reading
  • Valérie Sueur-Hermel, Henri Rivière. Entre impressionnisme et japonisme, Paris 2009
  • Armond Fields, Henri Riviere, Salt Lake City 1983
  • Henri Rivière, Les Détours du Chemin. Souvenirs. Notes & Croquis 1864-1951, Saint-Rémy-d-Provence 2004