This may explain why 19th-century French painter Henri Fantin-Latour
, for whose still lifes there was once an almost insatiable demand, has rarely commanded much critical attention.
Fellow Men: Fantin-Latour
and the Problem of the Group in Nineteenth-Century French Painting.
While visiting the market, people can also call in to the museum to see Amazing Egyptians, an exhibition for all the family, or the major summer offering Painting Flowers: Fantin-Latour
and the Impressionists.
Another challenge of seeing and knowing presented itself in dealing with a Fantin-Latour
flower subject painting.
(Nerd trivia: Molly Ringwald artfully deconstructs a prom dress in Pretty In Pink as "Thieves Like Us" plays perfectly in the background, even though the song is NOT on the soundtrack!) The bonus tracks collected here are mostly 12-inch singles that any crusty superfan has probably owned for well over a decade, but seeing it all repackaged here--along with the pristine Fantin-Latour
painting on the cover--is enough to make this ancient new waver weep away all my eyeliner.
If the avant-garde has any justification--anything that warrants cherishing the Impressionists above Puvis de Chavannes, Fantin-Latour
, or Carriere; Matisse above, say, the John Sloan of 1900-1910; Pollock above Christian Berard; or Newman above Diebenkorn--then that justification consists in the fact that it has proved the only means of maintaining the continuity of major art--not just good art--over the last hundred years.
Among the best shrub roses are 'Ballerina', with white centre and pink-flushed petals, fantastically scented 'Fantin-Latour
', which produces pale pink flowers and the yellow-flowered 'Canary Bird'.
Among the best shrub roses are Ballerina, with white centre and pink- flushed petals, the fantastically scented Fantin-Latour
, which produces pale pink flowers and the yellow-flowered Canary Bird.
Among the 24 paintings were Adoration of The Maji by Joos de Beer, Bouquet de Fleurs by Henri Fantin-Latour
and Breaking Cover by Turner.
The first large scale show in Britain to celebrate the still life paintings of Henri Fantin-Latour
has now gone on show.
He finds, for example, that Edmond Duranty evaluated Alphonse Legros' paintings similarly to Manet's in that they gave a "feeling of modern life." This supports Fried's contention that Manet and Legros, along with Henri Fantin-Latour
and James McNeill Whistler, shared a special sensibility and constituted their own "generation of 1863." But sometimes, as when Fried investigates written statements by Legros himself, who he admits was "almost illiterate," he pushes interpretation beyond appropriate limits.
There are some odd moments: Henri Fantin-Latour
, about whom we learn little (as is only right in a survey), is described as a "cheese fanatic"; Samuel Palmer and George Stubbs are not merely undervalued by the later Victorians, they are "shunned."