Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Sankt Antonius frestelser - Henri Fantin-Latour
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
Säker utcheckning
Tillverkad på beställning
Beskrivning
En hemsökande litografi av Henri Fantin-Latour, som fångar S:t Antonius psykologiska kamp genom mjuka tonkontraster och drömliknande imagery.
Henri Fantin-Latour, främst känd för sina precisa blomstilleben och gruppporträtt, producerade också ett betydande antal litografiska verk. Detta tryck, som föreställer S:t Antonius frestelse, visar hans intresse för det fantasifulla och eteriska. Kompositionen är centrerad kring helgonets asketiska gestalt, som sitter hopkrupen över en öppen bok, till synes omedveten om figurerna som dyker upp bakom honom. Fantin-Latour använder en mjuk, atmosfärisk teknik i denna litografi. Kvinnofigurerna träder fram ur den omgivande mörkret med en drömlik kvalitet, deras former återgivna med delikata tonala graderingar. Kontrasten mellan helgonets tunga, mörka dräkt och fresterskornas ljusa, bleka hud skapar en visuell spänning. Detta verk speglar konstnärens fascination för Wagners musik och den romantiska litteraturen i hans tid, och rör sig bort från den objektiva observationen i hans tidigare målningar mot en mer subjektiv, inre värld. Litografitekniken gjorde det möjligt för Fantin-Latour att experimentera med ljus och skugga på ett sätt som efterliknar kolens eller kritans flytande egenskaper. Bakgrunden löses upp i ett dunkelt, otydligt utrymme, vilket pressar figurerna fram i förgrunden och förstärker känslan av ett psykologiskt snarare än ett fysiskt möte. Helgonets hållning, fäst vid sin text, antyder en kamp för att bibehålla fokus mitt i de fantastiska visionerna som fyller hans ensamhet. Detta tryck fångar konstnärens förmåga att översätta komplexa känslomässiga tillstånd till monokromt bildspråk, och förlitar sig på stenens textur för att förmedla vikten av helgonets hängivenhet och visionernas flyktighet. Det är ett utmärkt exempel på fransk grafik från sent 1800-tal, där teknisk mästerskap möter en upptagenhet med det undermedvetna.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
Komplettera looken
Sankt Antonius frestelser - Henri Fantin-Latour
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Henri Fantin Latour
Fantin-Latour painted group portraits that functioned as manifestos. Homage to Delacroix, completed in 1864, gathered Manet, Baudelaire, Whistler and others around a portrait of the recently deceased painter. A Studio at Les Batignolles, painted in 1870, arranged the same circle around Manet at his easel. The Corner of the Table, in 1872, seated Verlaine and Rimbaud among the Parnassian poets. Each painting declared an allegiance, mapped a network, and recorded the face of everyone who mattered in Parisian culture at that moment.
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.
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.
Våra funktioner
Utformad för varaktig inverkan
Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Premium Box Frame
From £85
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From £30
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From £135
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
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Leveransgaranti utan skador
Snabb leverans
Material av museikvalitet
Artistbiografi
Henri Fantin-Latour
Fantin-Latour painted group portraits that functioned as manifestos. Homage to Delacroix, completed in 1864, gathered Manet, Baudelaire, Whistler and others around a portrait of the recently deceased painter. A Studio at Les Batignolles, painted in 1870, arranged the same circle around Manet at his easel. The Corner of the Table, in 1872, seated Verlaine and Rimbaud among the Parnassian poets. Each painting declared an allegiance, mapped a network, and recorded the face of everyone who mattered in Parisian culture at that moment.
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.
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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