As Edward Lucie-Smith observes, 'He looked at flowers, as he did at faces, with no preconceptions. His belief, academic in origin, that technique in painting was separable from the subject to which the artist applied it, enabled him to see the blooms he painted not as botanical specimens, but as things which, though not necessarily significant in themselves, would generate significant art upon the canvas' (Edward Lucie-Smith, Henri Fantin-Latour, New York, 1977, pp. 22-23).
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