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Source Description
In this drawing of nymphs holding lyres, Alexandre Séon hoped to depict, in his words, “the spirit of the forest.” He was inspired by fairy-tales he heard as a child about the woods near the remote village where he grew up. By applying colored pencils to a roughly textured sheet of paper, Séon evoked the hazy tones of twilight and gave the sheet a dreamlike tenor.
Scholar Source Context
Document identity
localId
350746
label
Study for “In the Woods, Evening”
core
obj
dtoType
drawing
pageCount
1
Source metadata
id
350746
contentType
drawing
title
Study for “In the Woods, Evening”
description
In this drawing of nymphs holding lyres, Alexandre Séon hoped to depict, in his words, “the spirit of the forest.” He was inspired by fairy-tales he heard as a child about the woods near the remote village where he grew up. By applying colored pencils to a roughly textured sheet of paper, Séon evoked the hazy tones of twilight and gave the sheet a dreamlike tenor.
date
1892–94
citation
rights
CC0
rightsUri
CC0
language
en
wikidata
Q79877549
creators
350725
genreSpecific
Drawing
imageCount
1
source
import
dimensionsRaw
Sheet: 35.3 x 23 cm (13 7/8 x 9 1/16 in.)
cul
France, 19th century
accession
2019.77
Source extras
tec
colored pencils on beige laid paper
tombstone
Study for “In the Woods, Evening”, 1892–94. Alexandre Séon (French, 1855–1917). Colored pencils on beige laid paper; sheet: 35.3 x 23 cm (13 7/8 x 9 1/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2019.77
supportMaterials
description
modern laid paper
collection
DR - French
inscriptions
inscription
inscribed, lower right, in blue pencil: Alex Séon; on verso, along top margin, in pencil: Alexandre SEON 1855–1917 / elève de Puvis de Chavannes ¬– la secheresse / de son dessin et sa stylization glacée, s’allient / à la tendresse de son couloris – / [4527]; on verso, on tape at right center, in pencil: 3
didYouKnow
This drawing relates to a painting that was exhibited to critical acclaim at the 1894 Société nationale des Beaux-Arts—an important avant-garde exhibition—but is lost today.
citations
citation
Bouyer, Raymond. “Le Bilan des deux salons.” <em>L’Ermitage </em>5 (1894).
page_number
Mentioned: p. 348 (discussion of related painting)
citation
<em>Exposition Nationale des Beaux-Arts, Catalogue Illustré des ouvrages…exposés au Champ-de-Mars</em>. Paris: Georges Petit, 1894.
page_number
Mentioned: p. xxvii; Reproduced: p. 38 (mention of related painting)
citation
Malterre, Félix. “Salon du Champ de Mars.” <em>Nouvelle revue international</em> 26 (1894)
page_number
Mentioned: p. 699 (discussion of related painting)
citation
“Au Salon du Champ-de-Mars.” <em>L’Express du Midi</em> (June 11, 1894).
page_number
Mentioned: n.p. (discussion of related painting)
citation
Jumeau-Lafond, Jean-David. <em>Alexandre Séon (1855-1917): La Beauté idéale</em>. Exh. Cat. Quimper: Musée des Beaux Arts, 2015.
page_number
Mentioned: p. 267 (discussion of printed reproduction of drawing)
citation
<em>1525–1929: Paintings, Drawings & Sculptures</em>. Brussels: Eric Gillis Fine Art, 2016.
page_number
Mentioned and reproduced: no. 22
citation
Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.
page_number
Mentioned and reproduced: p. 170-171, no. 34
citation
Parisi, Francesco. "Variazioni e Analogie del Paessaggio Simbolista tra Parigi, Bruges e Roma." In <em>Hammershøi E I Pittori Del Silenzio Tra Il Nord Europa E l’Italia</em>, edited by Paolo Bolpagni, 82-99. Milano: Dario Cimorelli Editore, 2025.
page_number
Mentioned and reproduced: p. 86-89, fig. 2
creditline
Norman O. Stone and Ella A. Stone Memorial Fund
updatedAt
2026-05-29 08:56:53.184000
sourceId
350746
dept
Drawings
coll
DR - French
med
colored pencils on beige laid paper
creatorTags
male
thumbnail_url
image_url
Single page context
seq
1
pageIndex
0
type
photo
mediaId
fd252858e44fde09