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Henri Fantin-LatourPrelude de Lohengrin (2e planche) (The Appearance of the Holy Grail)1898
1898
$1,500
£1,151.94
€1,320.10
CA$2,111.63
A$2,365.49
CHF 1,230.35
MX$28,854.12
NOK 15,663.99
SEK 14,770.02
DKK 9,852.89
About the Item
Prelude de Lohengrin (2e planche) (The appearance of the Holy Grail)
Lithograph, 1898
Signed and dated in the stone lower left (see photo)
Printed on chine collee paper
Condition: very good
Reference: Hediard 146 published state
According to Wikipedia:
Lohengrin, WWV 75, is a Romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel Lohengrin, itself inspired by the epic of Garin le Loherain. It is part of the Knight of the Swan legend.
The opera has inspired other works of art. King Ludwig II of Bavaria named his castle Neuschwanstein Castle after the Swan Knight. It was King Ludwig's patronage that later gave Wagner the means and opportunity to complete, build a theatre for, and stage his epic cycle The Ring of the Nibelung. He had discontinued composing it at the end of Act II of Siegfried, the third of the Ring tetraology, to create his radical chromatic masterpiece of the late 1850s, Tristan und Isolde, and his lyrical comic opera of the mid-1860s, Die Meistersinger von Nuernberg.
The most popular and recognizable part of the opera is the maudlin Bridal Chorus, better known unfortunately as "Here Comes the Bride," usually (in fact almost inevitably) played as a processional at weddings. The orchestral preludes to Acts I and III are also frequently performed separately as concert pieces. Many consider the Act I prelude Wagner's greatest single composition, an inspiring free-variation curtain-raiser on one soaring theme starting and ending softly on divided violins in high register, then building to a mighty climax with full brass and two climactic cymbal crashes in a classic orchestral crescendo-diminuendo, gradually approaching the one climax and then just as gradually receding, to end as ethereally as it started in the high divided violins, and representing the descent of the Holy Grail (the cup out of which Christ legendarily drank out of in the Last Supper the night before his crucifixion) from heaven back down to earth.
- Creator:Henri Fantin-Latour (1836-1904, French)
- Creation Year:1898
- Dimensions:Height: 25 in (63.5 cm)Width: 19 in (48.26 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA16361stDibs: LU14014663402
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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