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Overview
Félix Henri Bracquemond (1833-1914) was a French painter and etcher. In etching and drypoint, he played a major part in encouraging artists such as Edouard Manet, Edgar Degas and Camille Pissarro to use these techniques. He introduced Japonisme to the decorative arts of Europe.
He applied himself to engraving and etching about 1853, and altogether produced over 800 plates, comprising portraits, landscapes, scenes of contemporary life and bird-studies, besides numerous interpretations of other artists. This took the form of prints after paintings, especially those of Jean-Louis-Ernest Meissonier, Gustave Moreau and Jean-Baptiste-Camille Corot.
In 1856, Bracquemond discovered a collection of Manga engravings by Hokusai, typical of the pictorial genre known in Japan as Kacho-ga, depicting flowers and birds with insects, crustaceans and fishes, in the workshop of his printer Auguste Delâtre, after having been used to wrap a consignment of porcelain. He was seduced by this theme that made him the initiator of the vogue of Japonisme in France which seized the decorative arts during the second half of the 19th century.
In 1874 Bracquemond participated in the first exhibition of impressionist painters in the workshops of Nadar, in the Boulevard des Capucines, Paris, of artists that would be called the Impressionists. He exhibited a portrait, and a frame of etchings including the portraits of Auguste Comte, Charles Baudelaire and Théophile Gautier but also etchings after Turner, Ingres, Manet and the original etchings Les Saules (The Willows) and Le Mur (The Wall). He exhibited again with his friends in 1879. The culmination of Bracquemond's career was his award of the Grand Prix de Gravure at the Exposition Universelle, Paris, in 1900.
This etching is an unsparing but beautifully executed depiction of a dead rabbit hanging upside-down from a nail on the wall, its rear legs tied together. Its 'midriff' skin has been flayed, emphasising its carcass-like appearence. Its title translates as 'The rabbit from the warren'. Like his Barbizon School associates, Bracquemond has no interest in prettifying nature, but instead sees it as red in tooth and claw. He revisited the same or similar (usually deceased) subject matter till late in his career. This interest culminated in the magnificent etching, The Large Rabbit (1894).
See: https://en.wikipedia.org/wiki/F%C3%A9lix_Bracquemond
Dr Mark Stocker Curator, Historical International Art September 2017