19th Century French Still Life of Flowers Henri Fantin-Latour (1836-1904) signed

19th Century French Still Life of Flowers Henri Fantin-Latour (1836-1904) signed

$10,474.40
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Bouquet de Fleurs, 19th Century

by Henri Fantin-Latour (1836-1904) sales to $2,550,000

19th century French still life of flowers in a glass vase, oil on canvas by Henri Fantin-Latour. Excellent quality example of the French painters work, signed top right. Presented in a period ornate gilt frame. Signed & Inscribed verso. 


Measurements: 19" x 15" framed approx


Artist Biography


The son of the painter Thodore Fantin-Latour, Henri Fantin-Latour initially worked under his father's direction before moving to study under Lecoq de Boisbaudran and Courbet. He joined the cole des Beaux-Arts on 6 October 1854, making his Salon dbut in 1861. Even his earliest works reveal his talent as a draughtsman and colourist and his eye for charm and the ideal. He became friends with Manet in 1857, having met him at the Louvre, and in 1862 Manet portrayed him in his Music at the Tuileries. He also got to know Whistler during the latter's stay in Paris. In 1859, together with Manet, Whistler and other artists, Fantin-Latour was rejected from the Salon. Following this rejection, he joined the group that exhibited with Bonvin and met at the Caf Guerbois, a group of friends which he portrayed in his Studio in the Batignoles. Although he was accepted at the 1861 Salon, he was part of the first Salon des Refuss in 1863 and also exhibited at the Salon of the Brussels Socit des Beaux-Arts in 1900. Fantin-Latour did not receive any official recognition until 1870, with his Studio in the Batignolles. In 1878 he was awarded a second-class medal for two portraits and in 1897 he was given the Lgion d'Honneur.

Fantin-Latour was one of the most sensitive painters of the second half of the 19th century. His technique was extremely soft and used a diffuse light. His portraits are wonders of grace, while his studio views give a superb impression of intimacy. His best paintings include Reading ( La Lecture), Homage to Delacroix and The Toast (1865). He also tried a wide variety of genres and handled portraits, genre paintings, flowers and allegorical paintings with equal mastery. He was also a superb pastellist and an extremely talented lithographer. A contemporary and friend of the Impressionists, he was more of a successor to Delacroix, although he showed his sympathy with the Impressionists' cause by painting portraits of Baudelaire, Rimbaud, Delacroix, Manet, Monet, Renoir, Zola and Whistler.

Fantin-Latour himself is difficult to place. His situation at the end of the 19th century resembles that of Bonnard in the 20th century. Both of them liked to think of themselves as standing apart from the competition, mere painters, and accepting the condition that they would be judged solely by the quality of their work, regardless of their historical position in the development of the means of plastic expression. While still belonging to the Romantic movement, he painted visions of ethereal beings dancing in a fantastical landscape, preferring to exercise his imagination in the studio rather than to observe nature. Art history holds him in high esteem primarily for the peerless iconographic testimony of the many portraits he painted of his fellow painters and poets. Art enthusiasts liked him primarily for his many flower paintings, which they were quick to buy from a very early stage and which accounted for nearly all of his output between 1864 and 1896. Several exhibitions were organised after his death, including one at the Paris cole des Beaux-Arts in 1906, and 'Hommes de Valeur': Henri Fantin-Latour, Odilon Redon en Tijdgenoten (and their Contemporaries) at the Krller-Mller Museum in Otterlo, the Netherlands, in 2002.

Museum and Gallery Holdings

Alenon: Still-life Study

Amiens (Mus. de Picardie): Figures in a Wood

Antwerp: Study for a Portrait

Athens (Ethnik Pinakothki): Flowers, Melon, Strawberries and Cherries (1866oil on canvas)

Berlin: Portrait of the ArtistThe Artist's Wife

Brussels: Drawing Lesson

Dallas (MA): Spring Flowers (Fleurs de Printemps) (1863oil on canvas); Fall Flowers (Fleurs d'Automne) (1863oil on canvas); Still-life with Bunch of Hawthorn, Bowl of Cherries, Japanese Bowl, and Cup and Saucer (1872oil on canvas); Flowers and Bunches of Grapes (1875oil on canvaslithographs and drawing)

Douai: Grapes

Florence: Portrait of the Artist

Grenoble (Mus. de Grenoble): Portrait of the Artist's MotherPortrait of the Artist Aged 23BirthdayTemptation

London (NG): Still Life with Glass Jug, Fruit and Flowers (1861oil on canvason loan since 1979 at the Hugh Lane Municipal Gallery of Modern Art, Dublin); Roses (1886 and 1890oil on canvastwo paintings); Self Portrait (1860oil on canvas); A Plate of Apples (1861oil on canvas); The Judgement of Paris (c. 1863oil on canvasstudy); Mr and Mrs Edwin Edwards (1875oil on canvasexhibited at the Salon in 1875); Roses (1864oil on canvasfive paintings on loan from the Tate Gallery since 1997)

Melbourne: PetuniasDahlias

Montreal (MBA): 

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