Null 19th century school, follower of Henri FANTIN-LATOUR
Still life with peonie…
Description

19th century school, follower of Henri FANTIN-LATOUR Still life with peonies Oil on canvas H. 46 x L. 38 cm Denting and missing paint

39 .1

19th century school, follower of Henri FANTIN-LATOUR Still life with peonies Oil on canvas H. 46 x L. 38 cm Denting and missing paint

Auction is over for this lot. See the results

You may also like

Henri FANTIN-LATOUR (1805-1875) The reconciliation of Marie de Médicis and her son after the death of the Connétable (copy of a fragment of Rubens' painting in the Louvre) Before 1870 Oil on canvas mounted on canvas Signed lower right: Fantin 35 x 22 cm Framed Condition report available on request: [email protected] A certificate of authenticity issued by Galerie Brame et Lorenceau will be provided to the purchaser. This work will be reproduced in the Catalogue Raisonné of Fantin-Latour's paintings and pastels currently being prepared by Galerie Brame Lorenceau. PROVENANCE - Claude Roger-Marx, Paris (his sale: June 12, 1914n 2nd sale, N°19) ; - F. J. Tempelaere, Paris; - Albert Caressa, Paris, 1922; - Private collection, Belgium. EXHIBITIONS - 1905, January, Paris, Galerie Tempelaere, Exposition de l'Atelier de Fantin-Latour, N°9. BIBLIOGRAPHY - Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Floury Editeur, Paris, 1911, N°367, p. 50 (titled: Entrevue de Marie de Médicis et son fils). NOTICE A native of Grenoble, he entered the École des Beaux-Arts in Paris in 1854, where he met Edgar Degas, Alphonse Legros and Jean-Charles Cazin. He briefly attended Gustave Courbet's studio and painted many self-portraits in chalk, charcoal and oil. A member of the "1863" group and later of the Cénacle des Batignolles, he tried his hand at still life painting, encouraged by Whistler. In England, he found many enthusiasts for his flower and fruit compositions, which he exhibited several times at the Royal Academy. In France, he exhibited with his friends Manet, Renoir and Monet; Fantin renewed the collective portrait with his great manifesto painting "Hommage à Delacroix", followed by "Un atelier aux Batignolles". In the final years of his career, paving the way for Symbolist artists, he produced numerous fantastical paintings with dreamlike visions, as well as subjects with medieval reminiscences, such as the work we present here. The Middle Ages and the Renaissance came back into fashion following the productions of 19th-century Romantic painters and poets; a source of fascination, this bygone era exalts the imagination and arouses nostalgia for a bygone age.