Henri Fantin-Latour. Fleurs - photo 1
Henri Fantin-Latour. Fleurs - photo 2
Henri Fantin-Latour. Fleurs - photo 3
Henri Fantin-Latour. Fleurs - photo 4
Henri Fantin-Latour. Fleurs - photo 5
ID 1493211
Lot 1192 | Henri Fantin-Latour. Fleurs
Estimate value
€ 40 000 – 60 000
FANTIN-LATOUR, HENRI1836 Grenoble - 1904 Buré


Title: Fleurs.
Chrysanthemums in a glass.
Date: 1861.
Technique: Oil on canvas.
Mounting: Relined.
Measurement: 26 x 24.5cm.
Notation: Signed and dated upper right: "Fantin / 1861 Sept".
Frame: Framed.
Verso:
On the stretcher, collection and exhibition labels, including "Collectie B. Meijer, Wassenaar, No. 463".

Literature:
Floury, H. (ed.): Catalogue de l'Oeuvre complet de Fantin Latour, Paris 1911, p. 14, cat. rais. no. 85.

Provenance:
Private ownership, Germany;
Art dealer E.J. van Wisselingh, Amsterdam;
Van Beuningen-van Fentener Collection, Vlissingen;
E.J. van Wisselingh & Co. Art Dealers, Amsterdam;
E. Bigou Collection, Paris;
F.J. Tempelaere Collection, Paris;
Rosenthal Collection, Paris;
A.M. Ottin Collection.

Our finely composed still life is a prime example of Henri Fantin-Latour's art: three white chrysanthemums and a purple sage branch, discreetly arranged in a glass vase against a dark background. The light falls on the flower heads, highlighting them against the black background like a spotlight on a stage. The composition appears photographically precise, yet it thrives on painting: on the delicate brushwork, the iridescent light, the subtle interplay between surface and unfathomable depth. In its quiet intensity, this work exemplifies what Fantin-Latour is all about - and why his still lifes are still so highly regarded today.
Henri Fantin-Latour is one of the quieter but impressively consistent artistic personalities of the 19th century. He is embedded in an era of radical change: while Impressionism is emerging in France and his contemporaries are chasing the fleeting light, Fantin-Latour is going his own way. He sought the lasting moment, silence, depth and inner concentration.
Trained at the École des Beaux-Arts in Paris, Fantin-Latour moved in the intellectual circles of the Paris art scene from an early age. He cultivated close friendships with artists such as Édouard Manet, Edgar Degas and James McNeill Whistler, without joining their movements stylistically. While Manet and the Impressionists celebrated light and fleeting perception, Fantin-Latour remained committed to an idealistic form of realism.
From the 1870s onwards, the artist increasingly turned to Symbolism, especially in his later, often dreamlike lithographs, which were inspired by music, particularly Richard Wagner, and literature. This reveals his affinity for a spiritual world beyond the visible, a tendency that connects him with Symbolists such as Gustave Moreau and Odilon Redon.
Despite - or perhaps because of - his quiet radicalism, Fantin-Latour was successful during his lifetime both in France and in England, where his still lifes were particularly appreciated. Today, his oeuvre is once again increasingly recognised as a link between academic tradition, realistic observation and Symbolist introspection.
It can be roughly divided into two main areas: the floral still lifes for which he is still known today, and the portraits and group pictures of his contemporaries, including the legendary composition 'Un atelier aux Batignolles' from 1870. The work, which shows Manet, Renoir, Monet and other contemporaries in the studio, is considered a visual group portrait of French modernism, symbolically representing the dawn of a new era in art.
In both genres, Fantin-Latour combines extreme precision with psychological depth. His portraits capture not only the physiognomy but also the intellectual climate of an entire generation of artists, writers and musicians. His still lifes, on the other hand, are more than botanical studies: they are quiet spaces, characterised by concentration and an almost spiritual calm.
The painting presented here shows how Fantin-Latour shapes the significant from the simple. Its restrained colouring, the play of light and dark, and the almost meditative atmosphere make this still life a work of timeless presence. Fantin-Latour was not concerned with decorative effects. His still lifes are silent meditations on beauty, transience, and what remains.
Applied technique:Oil
Auction house category:Paintings 19th Century
Address of auction VAN HAM Kunstauktionen GmbH
Hitzelerstr. 2
50968 Köln
Germany
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