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About this work
Louis Icart's *Two Women & Borzois* captures the refined elegance of 1930s Parisian society through a deceptively simple arrangement. Two fashionably dressed women occupy the composition alongside a pair of sleek Russian wolfhounds—borzois—whose elongated forms echo the verticality and sinuous grace of their human companions. The palette is characteristically subtle: soft pastels and earth tones that allow the figures to emerge with an almost dreamlike clarity. Icart renders the women's clinging drapery with his signature fluidity; their poses suggest a moment of mutual regard, perhaps an exchange of confidences, while the borzois—those emblems of aristocratic refinement—lend an air of studied nonchalance to the scene. There is no narrative urgency here, only the pleasure of observation.
This work exemplifies Icart's unique gift: the ability to infuse ornamental subjects with genuine human psychology. While his contemporaries reduced fashionable women to decorative silhouettes, Icart pursued something more elusive—a sense of personality, even melancholy, beneath the glamour. The inclusion of the borzois speaks to his deeper interests; these animals appear frequently in his oeuvre as symbols of taste and companionship, never mere accessories.
Hung in a salon or study, this print settles into its space with quiet authority. It rewards prolonged looking—the kind of sustained attention a devoted reader or collector naturally offers. It speaks to those drawn to the sensual refinement of Art Deco without its frequent coldness, and to anyone who understands that true elegance whispers rather than shouts.
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.
