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Henri-Theodore Fantin-Latour

France (1836 -  1904 )
FANTIN-LATOUR Henri-Theodore  Reclining Nude At Rest

James D. Julia
Dec 6, 2018
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Variants on Artist's name :

Fantin-Latour Henri-Th.

Fantin-Latour Ignace-Henri-Jean-Theodore

Fantin-Latour Henri

 

Artworks in Arcadja
816

Some works of Henri-Theodore Fantin-Latour

Extracted between 816 works in the catalog of Arcadja
Henri-Theodore Fantin-Latour - Baigneuses

Henri-Theodore Fantin-Latour - Baigneuses

Original 1895
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Lot number: 29
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HENRI FANTIN-LATOUR (french 1836–1904) "BAIGNEUSES" Signed 'Fantin' bottom right, oil on canvas 19 7/8 x 24 1/8 in. (50.5 x 61.3cm) Executed in 1895. provenance: F. Tempelaere. Allard & Noël, Paris. Kapferer, Paris. His sale, Hôtel Drouot, Paris, sale of June 26, 1929, lot 40. Émile Laffon, Paris. Hôtel Drouot, Paris, sale of March 15, 1968, lot 57. Acquired directly from the above sale. Antoine Carmoli, Paris. Acquired directly from the above. Private Collection, Paris. By descent in the family. Private Collection, New Jersey. LITERATURE: Madame Fantin-Latour, Catalogue de l'Œuvre Complet de Henri Fantin-Latour, Floury Éditeur, Paris, 1911, no. 1580, p. 167. NOTE: The art of Fantin-Latour is admittedly hard to comprehend. Yet, his name resonates in everyone's mind as the artist who immortalized the famous "Atelier des Batignolles" and established for eternity the features of the greatest Impressionists such as Claude Monet (1840-1926), Pierre-Auguste Renoir (1841-1919) and Frédéric Bazille (1841-1870), as well as the great 19th century poets like Arthur Rimbaud (1854-1891), Paul Verlaine (1844-1896) and Charles Baudelaire (1821-1867). His dedication to the genre of the still life is what made him famous and rich, with nearly 1,500 works of this kind - all masterpieces of sensuality and emotion. The present work is linked to a lesser-known part of the artist's (late) career: a set of imaginative mythological compositions which were among the first works by the artist to enter French public collections at the turn of the twentieth century. The "imaginative" works of Fantin-Latour have always been a part of the artist's career, even though he took some time to fully explore their potential. Indeed, it was not until the late 1860s that Fantin completely turned away from Realism. Until then, the artist, who greatly admired the work of Gustave Courbet (1819-1877), felt that his true mission was to observe and restore on canvas what nature allowed him to see. In 1869, the artist declared to his patron Edwin Edwards (1823-1879): "I have changed a lot (...) Today, I consider time spent as a school. School of art study, school from nature, school of human race. This last school is the one of which I am the most disgusted. I'm done with it. I do not want to show anything anymore. It's gone." (quoted in French in Léonce Bénédicte, Catalogue de L'Oeuvre de Fantin-Latour, 1906, p. 27). This change of mind can be explained by the great success his still lifes garnered in England, enabling him to paint what he truly desired, without having to fulfill any of his patron's commissions. In January 1899, Fantin explained in a letter to his friend Otto Scholderer (1834-1902): " I do not make flowers anymore. I can, thanks to heaven, do what pleases me." (quoted in Fantin-Latour: À Fleur de Peau, exhibition catalogue, 2016). As evidenced in the present work, Fantin's works of imagination are characterized by a cotton-like atmosphere, which the artist renders through fuzzy and wispy touches - a distinct sign of his late pictorial language. Here, Fantin depicts two female bathers at twilight. While one is shown seated on the river bend, her back to the spectator, the other red-haired figure is bathing in the river, flowers in her left hand and a wet cloth at her waist. Both figures are treated individually. The two do not communicate and are not linked by any sort of narrative. Fantin sets them in a barely sketched landscape, which he purposely leaves empty to strengthen the overall mystery of the scene. Through this work, and more generally speaking through his Bathers series, Fantin pays tribute to the beauty of the female body. As Gustave Kahn (1859-1936) recalls, "Fantin is a lover of feminine beauty and nude (...) the feminine nude, he returns constantly, with piety, sweetness, trembling recollection, modesty and a kind of ecstatic passion" (quoted in Gustave Kahn, Fantin-Latour,1926 , pp. 43-44). Women have always been one of Fantin-Latour's favorite subjects. The artist started his career by representing the women around him, such as his sister and his wife. Later in life, as typified here, he repeatedly explored the purely feminine theme of "la toilette," always making sure the bare composition would serve the female figures' sensuality. Fantin's particular style is a clever mix of long-term influences. Here, the artist clearly is inspired by the Old Masters he observed and copied while a student at the Louvre. From these years of intense observation and copying, he acquired the required maturity and confidence to take great liberty in terms of composition and colors. Thus, while the present composition and effects of soft light recall the works of 18th century artists Jean-Antoine Watteau (1684-1721) and Pierre-Paul Prud'hon (1758-1823), the nude figures are directly inspired by Italian masters Giorgione (c.1477-1510) and Titian (c.1485-1576), and the purely Venetian colors are particularly reminiscent of Paolo Veronese's (1528-1588) palette. This constant back and forth between the study of the Old Masters and the observation of nature is also balanced by the very modern attention that Fantin-Latour dedicated to photography. At the time, photography was not only a source of interest and distraction for the artist, but also an important source of inspiration for his future works, as was the case for many of his fellow artists. Thanks to its low cost and acuteness, photography had become a very useful tool for creation (it was also a practical way to overcome the artist's personal lack of models), and Fantin used it for a lot of his preparatory drawings. The paintings of Fantin-Latour continuously take on new meanings and depths, making him one of the most accomplished poets of the nineteenth century - modern, yet aware of the past history of art and its transformations. Similar to Pierre-Auguste Renoir (who reached a perfect synthesis of Impressionist technique, extraordinary colors and arcadian timelessness, with his Bathers), Fantin Latour's later works flourish with freedom and pleasure. Reflecting on Fantin's career, Édouard Manet (1832-1883) concluded: "Fantin, without ignoring the work of others, proves (…) that it was possible to find a way between reigning Academism and revolutionary Impressionism" (quoted in Fantin-Latour: À Fleur de Peau, exhibition catalogue, 2016, p. XX). We wish to thank Galerie Brame & Lorenceau for confirming the authenticity of the present lot. The painting will be included in their forthcoming Catalogue Raisonné of the artist's work.
Henri-Theodore Fantin-Latour - Danses Au Soir

Henri-Theodore Fantin-Latour - Danses Au Soir

Original 1904
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Lot number: 37
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Henri Fantin-Latour (French, 1836-1904) Danses au soir bears signature (lower right) oil on canvas 73.7 x 91.5cm (29 x 36in). Painted circa 1904 Footnotes We are grateful to Galerie Brame & Lorenceau for confirming the authenticity of the present lot, which will be included in the Catalogue raisonné des peintures et pastels de Fantin-Latour, currently in preparation. Provenance Mme. Fantin-Latour, Paris. Ferdinand Tempelaere, Paris. Jean Tempelaere, Paris. Anon. sale, Palais Galliera, Paris, 14 March 1969, lot 37. E.J. Van Wisselingh & Co, Amsterdam. Private collection, Netherlands. Exhibited Grenoble, Musée Bibliothèque de Grenoble, Centenaire de Henri Fantin-Latour, August - October 1936, no. 94. Literature Mme. Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, 1849-1904, Paris, 1911, no. 2165, p. 228 (listed with inverted measurements). 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. 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. 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. Fantin-Latour, like many of the Symbolist painters, also drew inspiration from music; see for example Tannhäuser on the Venusberg (1864, Los Angeles County Museum of Art), which took its subject from a Wagner opera. In Danses au soir which, like La Nuit passed through the hands of the distinguished Amsterdam dealers E. J. van Wisselingh & Co., Fantin-Latour depicts six elegant female figures, perhaps the Muses, revelling in a twilight landscape; three figures dance to the musical accompaniment of a tambourine and double flute, instruments generally associated with Euterpe, the muse of music and lyric poetry, and Erato, the muse of lyric and love poetry. 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.
Henri-Theodore Fantin-Latour -  Reclining Nude At Rest

Henri-Theodore Fantin-Latour - Reclining Nude At Rest

Original
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Lot number: 1047
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HENRI FANTIN-LATOUR (French, 1836 - 1904) Condition: Original surface, overall craquelure,1" fragment of paint absent by proper left ankle Frame: Deep gesso and wood gilt Medium: Oil on canvas Signature: Lower Left "Fantin" Title: RECLINING NUDE AT REST Work Size: 12-3/4" x 16" Condition: Item Dimensions: Framed: 18-1/2" x 21-1/2".
Henri-Theodore Fantin-Latour - Azalées Et Bruyères

Henri-Theodore Fantin-Latour - Azalées Et Bruyères

Original 1874
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Lot number: 135
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AZALÉES ET BRUYÈRES Henri Fantin-Latour 1836 - 1904 Signed Fantin.and dated 74(upper left) Oil on canvas 16 1/8 by 9 1/8 in. 42.5 by 22.2 cm Painted in 1874. Provenance Edwin Edwards, London Marchant Collection, London J. Staats Forbes, London Sale: Christie's, London, July 16, 1909, lot 105 Arthur Tooth & Sons, London (acquired at the above sale) Galerie Jacques Dubourg, Paris Knoedler & Co., London Countess of Strafford, England (and sold: Sotheby's, London, July 9, 1958, lot 115c) Arthur Tooth& Sons, London (acquired at the above sale) W.A. Coolidge, London Arthur Tooth & Sons, London Viscountess Nancy Astor, London (and sold: Sotheby's, London, December 10, 1969, lot 8) Arthur Tooth & Sons, London (acquired at the above sale) Milena Jurzykowski, New York A bequest from the above in 1971 Literature Madame Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, no. 707
Henri-Theodore Fantin-Latour - Pétunias Doubles

Henri-Theodore Fantin-Latour - Pétunias Doubles

Original 1888
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Gross Price
Lot number: 408A
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Description:
Henri Fantin-Latour (1836-1904) Pétunias doubles signed and dated 'Fantin.88' (upper right) oil on canvas 18 3/8 x 16 ½ in. (46.8 x 41.9 cm.) Painted in 1888 Provenance Mrs. Edwin Edwards, London. Ernest Bonneau (circa 1900). Private collection, France (by descent from the above). Anon. sale, Tajan, Paris, 17 December 2015, lot 91. Acquired at the above sale by the present owner.
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