Sketchbook

1897 · Drawing

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Harvard Art Museums

Cambridge, USA

Sal3500, floor 3, Special Exhibitions Gallery

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Kontrolleret: i forgårs
Uændret siden: 27. sep. 2026
Kilde: Museets egne samlingsdata

På kortet Museets side

Om værket

The sketchbook came to the Fogg Art Museum as a loose collection of eleven folded sheets of paper and one loose sheet half the size of the other sheets, with no cover. The consistency of the paper and media indicates that they were all part of the same sketchbook. It was catalogued as if it were bound with numbers assigned to each page. The present order of the pages was determined by close examination in the Fogg's paper conservation lab, taking into account the size and edges of the sheets and the offsetting of media onto adjacent pages.

Page 3, 5, 19 and 21 contain the watermark A. Lepage Ainé Tochon-Lepage Succr.

Harvard Art Museums

Oplysninger

Inventarnummer: 1961.79

I kataloget

Tegninger & akvareller Impressionisme 1800-tallet Frankrig

Kilder

Harvard Art Museums: museets åbne data · hentet for 8 dage siden
Billede: Harvard Art Museums — © President and Fellows of Harvard College

Imens i livet hos Henri Edmond Cross

Hele livet

1890s
Meets Fénéon, Gide and Verhaeren
In the 1890s he works alongside Signac and gets to know the writers and critics Félix Fénéon, André Gide and Emile Verhaeren.
c. 1895
Moves from Pointillism to a mosaic-like brushstroke
From about 1895 he gradually changes his technique: instead of tiny dots, broad blocky brushstrokes with small areas of bare canvas left between them. The surfaces resemble mosaics, and such paintings are seen as precursors of Fauvism and Cubism.
1895
Shows at La Libre Esthétique at Maus’s invitation
Octave Maus, who had earlier invited him to the annual exhibitions of Les XX, invites him to the Libre Esthétique show; Cross takes part again in 1897, 1901, 1904, 1908 and 1909.
1896
Lithograph “The Wanderer” for an anarchist journal
The lithograph “L’Errant” (“The Wanderer”), his first work with a publisher, appeared anonymously in Jean Grave’s anarchist journal Les Temps Nouveaux. Like Signac and Pissarro, Cross held anarchist principles, and they shaped his choice of subjects — scenes of a utopian world.
1898
The first Neo-Impressionist exhibition in Germany
In 1898, together with Signac, Maximilien Luce and Théo van Rysselberghe, he takes part in the first Neo-Impressionist exhibition in Germany, organized by Harry Kessler at the Keller und Reiner Gallery.