Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
Victor Hugo spent nearly twenty years of his life in exile. His vocal dissent against Napoleon III’s self-proclamation as Emperor of the French led him to Guernsey, where he and his family spent years building a home. Hugo took refuge in art - both visual and written. His writings, including Les Misérables’ (1862) and The Hunchback of Notre-Dame Novel by Victor Hugo (1831) and his drawings embodied his core principles of the French Republic- liberty, equality, and fraternity. Yet, the many tragedies in his life distil into a palpable darkness in his work. Hugo’s haunting visuals include crumbling ruins and mysterious castles and the use of human figures to highlight the inescapability of death. His work precariously balances the line between channelling a vivid imagination and painting the harsh realities of life. In a letter to his brother in 1890, Vincent Van Gogh commented on Hugo’s mastery and ability to bring “astonishing things” to light. It is this description that gives name and purpose to this Royal Academy exhibition.
The Vision Ship or The Last Struggle was created by the artist between 1864 and 1866 on paper with a pen and brown ink. The brown ink is also used inconsistently as a wash, with lighter-coloured streaks under turbulent waves, allowing them to shine through, creating an almost inviting warmth. Living in exile on the island of Guernsey, set in the English Channel and near the edge of the Celtic Sea, it is only fitting that Hugo developed a particular fascination with the ocean. This illustration is one of many said to have been incorporated in his manuscript of Les Travailleurs de lamer, translated to The Toilers of the Sea. The story of a shipwreck that leads to a battle between a man and an octopus is said to be inspired by his frequent visits to Guernsey’s sister island, Isle of Sark, where in a cave, his son, Charles was once pursued by an octopus. From the wreck to the depictions of the menacing octopus lurking in deep waters, Hugo’s 1866 novel comes to life in a visual retelling with many drawings said to have been made before the book’s publication, highlighting drawings and illustrations as an integral part of his creative process.
Hugo was known to have made four thousand drawings in his lifetime. Many of these are preserved by Maisons de Victor Hugo, an establishment created by Hugo’s grandchildren and the City of Paris to protect their family memories and the artist’s work. The home where the artist lived from 1832 to 1848, in Paris, houses a part of the collection, while some of it can also be found at the Hauteville House, in his home during exile in Guernsey. The two homes under Maisons de Victor Hugo are open to the public and allow exploration into Hugo’s memories, paying tribute to his creative life. The exhibition focuses on bringing together seventy rarely exhibited works, many of which have to be kept in darkness for years after being showcased due to their fragility to light. Many of Hugo’s works were also protected by actress Juliette Drouet, a strong supporter of his art, with some of the works in the exhibition from her collection depicting landscapes they saw while travelling together.
It is evident that travel heavily impacted Hugo’s work and was crucial to his imaginative thinking. He was known to keep a travel journal to make a note of anything that might enhance his storytelling, from the temperaments of weather to drawings of architectural details and the shape of coastal cliffs. In his drawing, The Town of Vianden Seen through a Spider’s Web created in 1871, he is captivated by what he thinks is a “large spider’s web” and uses it as a lens to view the ruins. He paints a blue sky that seems to be engulfed by the brown wash on the graphite paper, allowing his visual imagery to focus on every tiny detail that can help record France’s social and political upheaval.
The works and their sensitivity to light explain why the exhibition rooms feel dark. But this darkness is also more a sense that lingers in the rooms. Hugo’s work captures a beautiful but turbulent tale of fighting for freedom, experiencing a numbing loss, battling grief, being cast away, and continuing the fight. His landscapes are haunting but telling. They capture this sense of turbulence that truly embodied his life. While Hugo’s novels have been a source of creative inspiration for artists for many generations, this exhibition of his art helps bring these hidden drawings to the creative limelight they deserve.
.png)
.png)
.svg){kind=logo}
