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Henri Fantin-LatourHenri Fantin-Latour "The Appearance of the Holy Grail" Old Master Print1898
1898
$800
£618.14
€714.63
CA$1,130.46
A$1,267.88
CHF 663.97
MX$15,406.02
NOK 8,431.32
SEK 7,993.49
DKK 5,334.31
About the Item
Henri Fantin-Latour
Prelude de Lohengrin (2e planche) (The Appearance of the Holy Grail), 1898
Sight: 19 1/2 x 13 3/4 in.
Framed: 24 3/4 x 17 1/2 x 1 1/2 in.
Signed and dated in the plate lower left
Description of this work from Digital Commonwealth:
In the middle, a winged angel raises the Holy Grail with both hands. The knight is seen from behind, dressed in his armor and his sword is at his side. He is on his knees and his hands are clasped. On the left, there is a procession of angels, two with trumpets. On the right, there are six or seven angels. One of angels, on its knees, raises a censer. On the left another angel, also on its knees, lets its censor burn.
Artist bio:
Born to a Russian mother and a French father, who was a portrait painter and drawing teacher, Henri Fantin-Latour became a well known French painter and lithographer in the classical tradition of the Old Masters.
He moved with his family to Paris from Grenoble in1841 and early took lessons from his father, Théodore Fantin-Latour. This instruction was followed by short enrollment at the Ecole des Beaux Arts and then work in the studio of Gustave Courbet. From 1853 for about 12 years, he made his living by copying Old Master paintings at the Louvre, where he made the acquaintance of Edgar Degas, Edouard Manet and Berthe Morisot. He became close friends with James McNeill Whistler and with Whistler and Alphonse Legros, formed the Société des Trois.
In 1859, at the invititation of Whistler, he visited him in London and with the influence of him plus Alphonse Legros and engraver Edwin Edwards, he became a part of the sophisticated art society of London.
In 1861 and 1862, he first exhibited at the Paris Salon. He had close friendships with Impressionists but did not participate in their exhibitions nor agree with their theories. His style was precise and realistic, and he was a great admirer of the Romantics including composer Richard Wagner, whose music he illustrated with lithographs. (Bio from Archives of AskArt)
- Creator:Henri Fantin-Latour (1836-1904, French)
- Creation Year:1898
- Dimensions:Height: 24.75 in (62.87 cm)Width: 17.5 in (44.45 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Some light waving to page consistent with age.
- Gallery Location:New York, NY
- Reference Number:Seller: BM41stDibs: LU2211215382942
Henri Fantin-Latour
Henri Fantin-Latour, in full Ignace-Henri-Jean-Théodore Fantin-Latour (born Jan. 14, 1836, Grenoble, France—died Aug. 25, 1904, Buré), French painter, printmaker, and illustrator noted for his still lifes with flowers and his portraits, especially group compositions, of contemporary French celebrities in the arts. Fantin-Latour’s first teacher was his father, a well-known portrait painter. Later, he studied at the school of Lecoq de Boisbaudran and attended the École des Beaux-Arts. He exhibited at the official French Salons, but in 1863 he also showed his work in the rebel Salon des Refusés. Although academic in manner, Fantin-Latour was independent in style. He had numerous friends among the leading French painters of his day, including J.-A.-D. Ingres, Eugène Delacroix, Camille Corot, Édouard Manet, and Gustave Courbet. His portrait groups, often arranged in rows of heads and figures like 17th-century Dutch guild portraits, are perhaps most interesting for their portrayal of various literary and artistic persons of the time. Fantin-Latour’s flower paintings were particularly appreciated in England, where, through James McNeill Whistler and Sir John Everett Millais, Fantin-Latour found a patron in Edwin Edwards. A wealthy amateur engraver, he supported Fantin-Latour for years by purchasing his still lifes. The last period of Fantin-Latour’s life was primarily devoted to lithography. In the Salon of 1876 he exhibited L’Anniversaire, honouring composer Hector Berlioz, and thereafter his lithographs were shown regularly. Most characteristic were his delicate portraits and imaginative drawings illustrative of the music of Richard Wagner, Berlioz, and others. He also illustrated Adolphe Jullien’s biographies of Wagner (1886) and Berlioz (1888).
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