Debut from Paradise and the Peri (Second Plate) - Henri Fantin-Latour
Archival giclée
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Description
A delicate lithograph by Henri Fantin-Latour, depicting a scene from Schumann's oratorio, Das Paradies und die Peri, with ethereal figures emerging from shadow.
Henri Fantin-Latour produced this lithograph as part of a series inspired by Robert Schumann's oratorio, Das Paradies und die Peri. The work draws upon the narrative of Thomas Moore's poem, which follows a peri, a fallen spirit, seeking readmission to paradise. Fantin-Latour, known for his technical mastery of lithography, employs a soft, atmospheric application of tone to capture the ethereal nature of the subject. The composition features a kneeling figure looking upward toward a descending angel, whose form is rendered with delicate, blurred edges that suggest movement and light. The artist avoids sharp outlines, opting instead for a tonal approach that creates a dreamlike quality. This technique allows the figures to emerge from the darkness of the background, emphasizing the spiritual weight of the encounter. The inclusion of musical notation in the margin serves as a direct reference to the source material, linking the visual experience to the auditory themes of the original composition. Fantin-Latour often explored literary and musical subjects in his later career, moving away from the realism of his earlier still-life paintings toward more imaginative, symbolic themes. This print demonstrates the artist's ability to manipulate the lithographic stone to achieve painterly effects. The interplay between the light of the angel and the shadows surrounding the peri creates a sense of depth and emotional tension. By focusing on the moment of transition, Fantin-Latour captures the longing and hope inherent in the narrative. The work remains a fine example of late nineteenth-century French printmaking, where the boundaries between music and visual art were frequently explored by artists seeking new modes of expression. The subtle gradations of grey and black provide a sense of texture, from the rough surface of the rock to the diaphanous quality of the angel's robes.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Debut from Paradise and the Peri (Second Plate) - Henri Fantin-Latour
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Henri Fantin-Latour
His flower paintings are the opposite. They are quiet, domestic, technically precise, and painted without any obvious agenda. Roses in a glass bowl. Peonies on a table. He exhibited them in England, where they sold steadily to collectors who had no interest in Parisian literary politics. In France, during his lifetime, the flowers were practically unknown. The irony is that they are what most people now associate with his name.
He trained under Horace Lecoq de Boisbaudran, an unorthodox teacher who had his students draw from memory rather than from the model. His classmates at the Ecole des Beaux-Arts included Degas and Alphonse Legros. He was friends with Manet, Whistler, Morisot and most of the painters who became the Impressionists, but his own style remained conservative: careful drawing, smooth finish, traditional composition. He stood at the centre of the avant-garde and painted like an old master, which is an unusual position to occupy for forty years.
He was also a member of the Jinglar Society, a nine-person dining club devoted to Japanese art and ceramics, which met to eat food off Japanese plates.
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