Amable-Gabriel DE LA FOULHOUZE (Clermont-Ferrand 1815–1887 Paris) The Boat 1857 Oil on canvas Restored 39 x 46 cm; 62 x 67 cm (framed) Signed “A. de la Foulhouze,” monogrammed “A.F.” on the sails; dated “57” lower left; on the reverse: an annotation In a gilded wood frame with Napoleon III-style moldings A native of Auvergne, Amable-Gabriel de la Foulhouze was an artist as well as a journalist. In 1837, he moved to Paris and studied under Paul Delaroche, then under Thomas Couture, where he befriended Alfred Stevens. He exhibited at the Salon between 1845 and 1880. Although little known today, the artist enjoyed a certain degree of fame in his day, not only for his landscapes but especially for his genre scenes. As Adeline Chion explains, “It was at the end of the Second Empire that the artist became a painter in vogue, thanks to a very specific genre: the depiction of the Parisian woman. In this sense, he truly belongs to his generation.” Just like his friend Stevens, he depicted elegant women from the bourgeoisie. Their crinoline dresses, hats, and parasols signify a certain social status, but also reflect contemporary life. They are often depicted in settings frequented by high society, such as Île-de-France, Seine-et-Oise, or the beaches of the Normandy coast. The painting we are presenting here is striking for its originality. Is this really just a casual stroll, or is it a shipwreck? The passengers seem exhausted: several of them, including the young women, have fallen asleep, and the men appear worn out. Only the captain, from a lower social class and wearing a red cap, seems alert. Are they caught, against their will, in the waves of a stormy sea? Are they passing by a sinking sailboat, or were they part of that vessel? Perhaps this should be seen as a satire of contemporary society. It is also worth noting that the artist included himself in the scene by inscribing his initials on the two sails. The image thus raises many questions. There is, moreover, one undeniable influence: Théodore Géricault’s *The Raft of the Medusa*, painted thirty-nine years earlier.Added to the Louvre’s collections in 1824, it is more than likely that La Foulhouze saw and copied it, just as he may have done with Delacroix’s *The Massacre at Chiode* or David’s *The Rape of the Sabine Women* when he was still a student.