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FANTIN-LATOUR, Henri
Baigneuses (original French title)4th large plate.Lithograph.References: Hédiard-Mason 138, Johnson 41-1.Re-working of the rare 1st state (of 2), b...
View full detailsHenri FANTIN-LATOUR
Ignace Henri Jean Théodore Fantin-Latour was born in 1836 in Grenoble, France.
He has the distinction of an influence that ranges across centuries: from references by Marcel Proust to the 1983 cover of New Order's iconic album Power, Corruption & Lies. His skill as a painter of roses was legendary; there is even a fragrant pink Centifolia rose named in his honor.
He is known for his rendering of flowers in natural light and his friendships with other artists and writers. Edouard Manet, a witness at his wedding to fellow painter Victoria Dubourg, was a frequent model. His close friend Whistler promoted his work in England, introducing him to one of his most supportive patrons, Edwin Edwards, and his wife, Ruth. By the early 1860s, Fantin-Latour was successfully working in three different genres: portraiture, still-life, and mythological scenes. While commissioned portraits and still-life paintings were essential to his income, his exploration of mythology and fantasy subjects was personally vital to him and often driven by his great love of music. In addition, this genre inspired him as a printmaker, for lithography became an important tool to play with and refine the compositions for his fantastical works. He died at the age of 68 and was interred in the Cimetière du Montparnasse, Paris, France.
He has the distinction of an influence that ranges across centuries: from references by Marcel Proust to the 1983 cover of New Order's iconic album Power, Corruption & Lies. His skill as a painter of roses was legendary; there is even a fragrant pink Centifolia rose named in his honor.
He is known for his rendering of flowers in natural light and his friendships with other artists and writers. Edouard Manet, a witness at his wedding to fellow painter Victoria Dubourg, was a frequent model. His close friend Whistler promoted his work in England, introducing him to one of his most supportive patrons, Edwin Edwards, and his wife, Ruth. By the early 1860s, Fantin-Latour was successfully working in three different genres: portraiture, still-life, and mythological scenes. While commissioned portraits and still-life paintings were essential to his income, his exploration of mythology and fantasy subjects was personally vital to him and often driven by his great love of music. In addition, this genre inspired him as a printmaker, for lithography became an important tool to play with and refine the compositions for his fantastical works. He died at the age of 68 and was interred in the Cimetière du Montparnasse, Paris, France.