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Unframed Matte Paper Prints: Delivered in the exact dimensions of the artwork on 280 gsm Artist Paper.
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Stretched Canvas: Ready to hang with neatly finished edges and solid wood support.
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Framed Prints: Professionally mounted in a premium wood frame with backing and wire installed.
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About this work
This is a study in the language of the figure—a drawing of women rendered with the fluency and confidence that defined Icart's peak years in the late 1920s. The title itself signals intent: *Dessin des femmes* is not a narrative scene but an exploration of form, gesture, and the particular grace that animated his models. You encounter here the hallmark Icart line: economical, sinuous, alive. The composition likely privileges the interplay of silk and skin, the arch of a back or tilt of a head, rendered in the artist's signature palette of muted golds, blues, and flesh tones. There's no heavy sentimentality—only the pleasure of seeing a woman drawn by someone who understood both the body's architecture and its poetry.
By 1928, Icart had already established himself as the supreme draughtsman of Art Deco femininity, a reputation built on hundreds of etchings and hand-colored prints that captured 1920s Paris in full bloom. This drawing sits at the heart of his project: the refusal to treat women as decorative abstractions. Instead, he pursued expression—a quirk of the mouth, the weight of fabric, the intelligence behind an eye. His lineage ran back through Degas and the 18th-century masters, but his sensibility was entirely modern: women as actors in their own moment, not as static muses.
On a wall, this print inhabits a space with quiet authority. It suits rooms where subtlety is valued—a study, a bedroom, anywhere that benefits from contemplative beauty. The viewer drawn to Icart's work seeks something beyond decoration: evidence of genuine observation, and the company of someone who saw women not as fantasy, but as endlessly interesting.
About Louis Icart
Few artists captured the spirit of Jazz Age Paris quite like this French printmaker, whose drypoint and aquatint etchings of long-limbed women and their attendant whippets became shorthand for interwar glamour. Working between the wars from his Montmartre studio, Icart (1888-1950) refined a technique that combined etched line with hand-coloring, producing editions that hung in fashionable apartments from Paris to New York. He drew from the Art Deco vocabulary of speed, perfume, and silk, but his sensibility owed as much to eighteenth-century French boudoir painting. For collectors today, his prints offer something contemporary design rarely manages: unapologetic elegance with a wink behind it.
