Réverie - Henri Fantin-Latour
Archival giclée
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Description
A delicate lithograph by Henri Fantin-Latour, capturing a reclining figure in a dreamlike, atmospheric state of contemplation.
Henri Fantin-Latour produced this lithograph, titled Réverie, during the latter part of his career. While he is often associated with his precise floral still-life paintings, his graphic work reveals a different preoccupation with the ethereal and the dreamlike. This print captures a reclining female figure, rendered with a soft, atmospheric quality that obscures sharp edges in favour of tonal transitions. The composition relies on the interplay between light and shadow. The figure emerges from a dark, indistinct background, suggesting a space removed from the physical world. Fantin-Latour utilised the lithographic medium to create a grainy, charcoal-like texture, which contributes to the hazy, contemplative mood of the scene. The subject appears lost in thought, a common theme in his later works which often drew inspiration from music, poetry, and the subconscious. Unlike his earlier, more objective studies, this work leans into the subjective nature of Symbolism. The figure is not a portrait of a specific individual but rather a representation of a state of mind. The lack of environmental detail forces the viewer to focus on the posture and the gentle illumination of the skin against the surrounding gloom. This print demonstrates the artist's technical mastery over the lithographic stone, allowing for a range of greys that define form without the need for rigid outlines. It remains a quiet, introspective piece that reflects the artist's move away from the strict realism of his youth toward a more evocative, imaginative style.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
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.
Réverie - Henri Fantin-Latour
Our Features
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
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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