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拍品詳情

印象派及現代藝術日拍

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倫敦

Henri Fantin-Latour
1836-1904年
ROSES
signed Fantin. and dated 81 (upper right)
oil on canvas
21.2 by 24.8cm., 8 3/8 by 9 3/4 in.
Painted in 1881.
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This painting will be included in the Catalogue raisonné of Fantin-Latour’s paintings and pastels by Galerie Brame & Lorenceau now in preparation.

來源

Edwin Edwards, London
Obach & Co, London
F. & J. Tempelaere, Paris
Bonjean, Paris
Sir Wakefield, London (sale: Christie’s, London, 30th June 1911, lot 53)
Etienne Bignou, Paris
E. J. van Wisselingh & Co, Amsterdam
Hirschl & Adler Galleries, New York
Acquavella Galleries, New York (acquired by 1966)
John T. Dorrance, Jr. (sale: Sotheby's, New York, The Collection of John T. Dorrance, Jr., 19th October 1989, lot 94)
Purchased at the above sale by the present owner

展覽

New York, Acquavella Galleries, Inc., Flowers by Fantin-Latour, 1966, no. 24, illustrated in colour in the catalogue

出版

Madame Fantin-Latour, Catalogue de l'œuvre complet de Fantin-Latour, Paris, 1911, no. 1034, p. 107
Selection from the Collection of Hirschl & Adler Galleries (exhibition catalogue), Hirschl & Adler Galleries, New York, 1962-63, vol. IV, no. 60, illustrated in colour p. 40
Detroit Institute of Art, The Art Quarterly, Autumn 1962, vol. XXV, n.n., illustrated on inside of cover

相關資料

Painted in 1881, Roses exemplifies the style of work that garnered critical and financial success for Henri Fantin-Latour.  These expertly crafted still lifes, which Fantin-Latour perfected over the three decades preceding his death in 1904, were already highly coveted by the 1870s due to the agency of English collectors Edwin and Ruth Edwards.  This success allowed Fantin-Latour to devote himself fully to the meticulous execution and technique of his works, rather than subject himself to the demands of the market.  Such commitment to academic technique was only deepened by the passing of two of the artist’s sources of inspiration in early 1875: Jean-François Millet and Jean-Baptiste-Camille Corot.  Ultimately, Fantin-Latour’s dedication to his craft would produce some of the great examples of trompe l’œil painting of the late nineteenth century.

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).

印象派及現代藝術日拍

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倫敦