A colour lithograph by Henri Rivière, capturing a railway scene in Paris with the Eiffel Tower in the distance, influenced by Japanese ukiyo-e aesthetics.

Henri Rivière produced his series, Thirty-Six Views of the Eiffel Tower, between 1888 and 1902. This specific print, depicting the view from the Quai de Javel, demonstrates the influence of Japanese ukiyo-e woodblock prints on French artists during the late nineteenth century. Rivière adopts the flattened perspective, bold outlines, and simplified colour palettes characteristic of the style, while applying them to the industrialised outskirts of Paris.

The composition centres on a railway track, leading the eye toward the distant silhouette of the Eiffel Tower. In the foreground, a humble switchman's shanty sits beside a small vegetable patch, creating a contrast between the rural remnants of the city and the encroaching modern infrastructure. The inclusion of the steam locomotive and the signal post reinforces the theme of technological progress that defined the era. Rivière uses a muted palette of greys, soft browns, and pale ochres, which allows the geometric forms of the railway equipment and the tower to remain the primary focus.

This work belongs to a broader collection of lithographs that document the changing appearance of Paris. By choosing to frame the iconic tower through the mundane perspective of a railway worker, Rivière provides a grounded observation of urban life. The print avoids romanticising the scene, opting instead for a clear, graphic representation of the environment. The use of lithography enables the subtle layering of colours, which mimics the texture of traditional woodblock printing. This piece offers a view into the intersection of traditional print techniques and the rapid modernisation of the French capital at the turn of the century.