A lithograph from Henri Rivière's 1897 series, 'Les Quatorze Stations de l'Enfant Prodigue', featuring a silhouetted composition influenced by Japanese woodblock prints.

This lithograph originates from the 1897 publication 'Les Quatorze Stations de l'Enfant Prodigue', a series of fourteen prints by the French artist Henri Rivière. Rivière was a central figure in the shadow theatre productions at the Chat Noir cabaret in Montmartre, and his work frequently reflects the influence of Japanese woodblock prints, particularly the compositions of Hokusai and Hiroshige. In this specific plate, Rivière employs a flattened perspective and a restricted colour palette to convey the narrative. The scene is dominated by the silhouette of a large tree in the foreground, which frames the figures gathered on the hillside. The use of negative space and the soft, atmospheric transition from the dark foreground to the lighter, hazy background demonstrates his mastery of lithographic techniques. The figures are rendered with minimal detail, relying on their posture and placement to communicate the biblical narrative of the prodigal son. Rivière's approach to this series is notable for its restraint. He avoids excessive ornamentation, preferring instead to focus on the balance between light and shadow. The composition draws the eye across the scene, from the seated figure under the tree to the distant procession of people and animals. This print captures the quiet, contemplative quality that defines much of Rivière's graphic work. It is a clear example of the synthesis between European printmaking traditions and the aesthetic principles of the East that characterised the late nineteenth-century French art scene.