The Evocation of Kundry - Henri Fantin-Latour
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Description
A 1897 lithograph by Henri Fantin-Latour depicting a scene from Wagner's Parsifal, capturing the atmospheric encounter between Klingsor and Kundry.
Henri Fantin-Latour produced this lithograph in 1897, drawing inspiration from Richard Wagner's opera, Parsifal. The scene depicts the sorcerer Klingsor summoning the figure of Kundry. Fantin-Latour was a dedicated admirer of Wagner, and his work frequently explored themes from the composer's operas through a dreamlike, atmospheric lens. The composition relies on the contrast between the dark, solid form of Klingsor and the ethereal, luminous presence of Kundry. Klingsor sits at a desk, his posture rigid and focused, while his finger points towards the apparition. Kundry emerges from a swirling, nebulous background, her body rendered with soft, blurred edges that suggest a spectral quality. The artist uses the medium of lithography to create a range of tonal values, moving from the deep blacks of the sorcerer's robes to the delicate, silvery greys that define the figure of the woman. Fantin-Latour's approach to this subject avoids literal narrative, focusing instead on the psychological tension between the two figures. The hazy, indistinct environment removes the scene from a specific time or place, placing it firmly within the realm of Symbolist art. The print demonstrates the artist's technical skill in manipulating light and shadow to evoke a sense of mystery. By stripping away unnecessary detail, he directs the viewer's attention to the interaction between the human agent and the supernatural manifestation. This work is representative of the artist's later career, during which he moved away from his earlier realist still-life paintings to explore more imaginative and literary subjects.
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The Evocation of Kundry - Henri Fantin-Latour
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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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