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About this work
This etching captures the sophisticated thrill of the hunt—not the kill, but the pursuit itself. Icart's *Coursing III* depicts a woman on horseback, her figure animated by motion and the wind that catches her clothes and hair. The composition suggests speed and abandon: she leans into the ride with an ease that speaks of privilege and pleasure rather than labor. Around her, the landscape blurs into soft pastels and muted greens, allowing the figure to dominate—a technique Icart perfected to draw the eye inward. The palette is characteristically refined: creams, pale blues, dusty roses. Her expression, caught mid-moment, carries that coquettish energy Icart refused to abandon even in scenes of active sport. This isn't a serious sporting portrait; it's flirtation rendered in motion.
*Coursing III* belongs to a phase of Icart's work when he was at the height of his powers, celebrated across Europe for his ability to merge fashion-plate glamour with genuine psychological presence. The hunt was a recurring motif in his oeuvre—aristocratic, leisured, coded with desire. By 1930, as the world moved toward economic catastrophe, Icart's work remained anchored in a fantasy of 1920s ease. This print documents that dream before it shattered.
Hung in a room with natural light, *Coursing III* glows. It speaks to collectors who understand that Art Deco wasn't about flatness or coldness, but about capturing the exact moment when pleasure and danger collide. It's for those who recognize that elegance lies not in stillness, but in motion captured perfectly.
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.
