Exhibited Grenoble, Musée-Bibliothèque, Centenaire de Henri Fantin-Latour, August - October 1936, no. In paintings such as Immortalitie 1889, National Museum of Wales, Cardiff , L'Aurore et La Nuit 1894, Birmingham Museum and Art Gallery and La Nuit sold in these rooms 2 March 2016, lot 72 , Fantin-Latour creates elegant allegories loosely drawn from mythology, female figures nestled among the clouds. Literature Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, no. In 1850 he left Grenoble and moved to Paris to study under Horace Lecoq de Boisbaudran 1802-1897 , an innovative and nontraditional instructor who developed and published his own unique teaching method based on painting and drawing from memory. The lithograph could just as well have been called Rêverie or Sleeping Venus. .
Exhibited Grenoble, Musée Bibliothèque de Grenoble, Centenaire de Henri Fantin-Latour, August - October 1936, no. He confers a kind of nobility on the rose' J. The colourful robes draped around the figures call to mind the symbolic figures of Dawn and Night in L'aurore et la nuit, set against the reddening sky. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Delicacy of expression being the essence of his art, Fantin seems to be the visual poet of flowers.
This makes Fantin-Latour one of the first artists of the nineteenth century to practice lithography as an independent art form. After his first Salon submissions were rejected in 1859, Fantin, in an effort to become better known in France, began exhibiting with his friend Manet q. Here, the roses are skillfully painted in a variety of life-cycles, from fresh, luxuriant new blooms to more faded petals, highlighting not just their beauty, but their very transience. They are as compelling as they are charming, in fact one might even call them moving. It is one of the last lithographs that Fantin-Latour produces himself in 1903, a year before his death. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Many of Fantin-Latour's figurative and symbolist works were executed towards the end of his distinguished career, when his reputation as a floral still-life painter was well established.
Anonymous sale, Christie's, London, 4 July 1913, lot 93. The Salon was the official, annual exhibition of the Académie des Beaux-Arts, the national art academy of the French government. Druick and Hoog 1982, 28. Metropolitan Museum of Art, New York, 2009, p. This work is the first major composition by an artist closely linked to the Impressionists; it shows Fantin-Latour's taste for character study, precise drawing and dark colour harmonies. Provenance Mrs Edwin Edwards, London.
The dexterity with which Fantin was able to replicate the soft textures and complex structure of the rose was frequently remarked upon. And he has asked her whether she had seen the flower painting by Fantin-Latour which had recently been exhibited. At the time of this portrait, Madeleine Lerolle was 26 years old. He soon discovers lithography as the best medium for these works of the imagination. Eau dormante Whatever the theme, the depictions often look strikingly similar and Fantin-Latour frequently repeats the same poses.
Fantin studied with him for six years and then attended the École des Beaux-Arts for less than a year in 1854. I have done it too often! Fantin has situated the flowers against a typically muted background and placed them within a simple and summarily painted receptacle so as not to 'distract the attention to be paid to the flowers' Fantin, quoted in ibid. I have my own views now nothing can distract me. The meaning can only be derived from the title, as in Eau dormante. Through a series of dream-like compositions, using elegant female forms to represent personifications of Dawn, Day and Night, Fantin-Latour's fantasies stand alongside such Symbolist masters as Gustave Moreau, Odilon Redon and Puvis de Chavannes. Writers and artists are clustered around a portrait of Delacroix executed from a photograph taken ten years before. These reproaches did not prevent Fantin-Latour from painting other group portraits which became just as famous: A Studio at Les Batignolles in 1870 and By the Table in 1872.
I would very much like to see the painting by Rembrandt of which you speak, because it should be quiet splendid. It is fitting that a variety of rose, the 'Fantin-Latour' rose now bears his name. In addition to portraits and still lifes, he made numerous paintings and more than 150 prints that were fantasy works and dream visions, paving the way for symbolist artists. The dramatic silhouette of the delicate rhododendron blooms reflects the influence of Japanese prints. After the Romantic movement, born of classicizing exaggeration, after the Realist movement, product of the follies of Romanticism, it may be seen that there is a great foolishness in all these ideas. The admiration that the author of Les Fleurs du mal felt for Delacroix is an indication of the respect paid to him by the artists who were to incarnate modernity in the second half of the 19th century. It was in London, through Whistler's brother-in-law Francis Seymour Haden 1818-1910 , that Fantin first learned to etch.
Albert Besnard portrayed her more formally in his painting Madeleine Lerolle and Her Daughter Yvonne, currently on display in the other Romanticism to Realism gallery. Light-dark He has an exceptional mastery of the technique, creating an image in multiple stages. The composition very fine, and I can see the heads painted by you in magnificent colour - The bust will perhaps be difficult to arrange - but I have the greatest confidence in you - Oh I wish I knew a little of what you know!. I thought it could last. Galeries nationales du Grand Palais, 1988 , under cat.
Painted in 1885, most likely at his wife's country home at Buré in Normandy, Roses shows the extent to which Fantin's still lifes had evolved from his earlier more complex arrangements of flowers to a more simplified, understated aesthetic involving subtle colour harmonies of creamy whites, dusty pinks, soft yellows and oranges. This owed much to the enormous popularity of roses at this time, particularly in England where Fantin's flower-pieces were both greatly admired and much sought after see D. Deep down, he was first and foremost a studio artist. Acquired from the above by Mrs Monique Uzielli in 1951. Well then I cauterize their wounds once again! There must be a price for each size - I suppose that the large bunches we are talking about should be around 300 to 350 frs each - As for the Wedding in Cana - do not make it too big for the 1000 frs.