GENERAL DESCRIPTION
Henri Fantin-Latour was one of the most celebrated still-life painters of the later 19th century. His subtle recording of nuances of light, color, form, and texture in this unassuming group of objects reveals his close observation from life. Here, the light-reflecting qualities of each object are sensitively differentiated through color and brushstroke. Compare, for instance, the highlights along the faceted edge of the crystal dish to the opacity of the Japanese bowl. Although the compositional elements might seem haphazardly selected and arranged, the plump cherries, lacy blossoms, and glossy ceramic dishware reveal a thoughtful and deliberate study of circular forms.
Excerpt from
Nicole R. Myers, DMA label copy, 2017.
NOTES
Created 1872
Checked Piction
TMS done
Emily Schiller:
Henri Fantin-Latour started painting still lifes at the end of the 1850s while staying in London. Still life, especially his exquisite flower pieces, quickly became his main and most successful pursuit. During the early 1870s, Fantin-Latour’s compositions evolved from energetic bouquets on dark backgrounds to beautiful and elegant arrangements including white fabrics, silverware, glass, and china. In this work, the different textures, reflections, and transparencies are painted with a muted virtuosity. Compare, for instance, the reflection of light in the faceted exterior of the crystal dish to the opacity of the Japanese bowl. From the plump cherries, to the lacy blossoms of the hawthorn flower, to the smooth surfaces of the ceramic dish and porcelain cup and saucer, this painting is a carefully observed arrangement of circular forms. Close observation allowed the artist to capture the subtle nuances of light, color, form, and texture in this group of unassuming objects.
Adapted from
- Bonnie Pitman, ed., "Still Life with Vase of Hawthorn, Bowl of Cherries, Japanese Bowl, and Cup and Saucer," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 195.
- Heather MacDonald, DMA label copy, 2010.
Geography unverified---could be England or France. He traveled to London frequently. Requires more research.
PUT IN TMS:
Henri Fantin-Latour started painting still lifes at the end of the 1850s while staying in London. Still life, especially his exquisite flower pieces,
quickly became his main and most successful pursuit. The contemplation of ephemeral beauty fit perfectly with the silent and introspective attitude of Fantin-Latour himself, whose still lifes can be considered moments of meditation and reverence. During the early 1870s, Fantin-Latour’s compositions evolved from energetic bouquets on dark backgrounds to beautiful and elegant arrangements including white fabrics, silverware, glass, and china. In this work, the different textures, reflections, and transparencies are painted with a muted virtuosity. The artist’s consideration of light and translucence pays tribute to the Dutch still-life tradition.
Excerpt from
Bonnie Pitman, ed., "Still Life with Vase of Hawthorn, Bowl of Cherries, Japanese Bowl, and Cup and Saucer," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 195.
From the plump cherries, to the lacy blossoms of the hawthorn flower, to the smooth surfaces of the ceramic dish and porcelain cup and saucer, this painting is a carefully observed arrangement of circular forms. Henri Théodore Fantin–Latour sensitively differentiates the light–reflecting qualities of each object. Compare, for instance, the reflection of light in the faceted exterior of the crystal dish to the opacity of the Japanese bowl. Close observation allowed the artist to capture the subtle nuances of light, color, form, and texture in this group of unassuming objects.
Heather MacDonald
The Lillian and James H. Clark Associate Curator of European Art
October 2010
Catalogue essays
Artist/designers
Fantin-Latour, Henri-Théodore (French, 1836-1904)
Cultures
Geography
Place of origin: Europe (continent): TGN: 1000003
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- The J. Paul Getty Museum, Los Angeles~Read a biography of the artist from the Getty.
- Musée d'Orsay, Paris~Check out another still life by Fantin-Latour.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 2001.5.FA
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General Description
Henri Fantin-Latour was one of the most celebrated still-life painters of the later 19th century. His subtle recording of nuances of light, color, form, and texture in this unassuming group of objects reveals his close observation from life. Here, the light-reflecting qualities of each object are sensitively differentiated through color and brushstroke. Compare, for instance, the highlights along the faceted edge of the crystal dish to the opacity of the Japanese bowl. Although the compositional elements might seem haphazardly selected and arranged, the plump cherries, lacy blossoms, and glossy ceramic dishware reveal a thoughtful and deliberate study of circular forms.
Excerpt from
Nicole R. Myers, DMA label copy, 2017.
Fun Facts
Archival Resources
Web Resources
- The J. Paul Getty Museum, Los Angeles~Read a biography of the artist from the Getty.
- Musée d'Orsay, Paris~Check out another still life by Fantin-Latour.
Notes
Created 1872
Checked Piction
TMS done
Emily Schiller:
Henri Fantin-Latour started painting still lifes at the end of the 1850s while staying in London. Still life, especially his exquisite flower pieces, quickly became his main and most successful pursuit. During the early 1870s, Fantin-Latour’s compositions evolved from energetic bouquets on dark backgrounds to beautiful and elegant arrangements including white fabrics, silverware, glass, and china. In this work, the different textures, reflections, and transparencies are painted with a muted virtuosity. Compare, for instance, the reflection of light in the faceted exterior of the crystal dish to the opacity of the Japanese bowl. From the plump cherries, to the lacy blossoms of the hawthorn flower, to the smooth surfaces of the ceramic dish and porcelain cup and saucer, this painting is a carefully observed arrangement of circular forms. Close observation allowed the artist to capture the subtle nuances of light, color, form, and texture in this group of unassuming objects.
Adapted from
- Bonnie Pitman, ed., "Still Life with Vase of Hawthorn, Bowl of Cherries, Japanese Bowl, and Cup and Saucer," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 195.
- Heather MacDonald, DMA label copy, 2010.
Geography unverified---could be England or France. He traveled to London frequently. Requires more research.
PUT IN TMS:
Henri Fantin-Latour started painting still lifes at the end of the 1850s while staying in London. Still life, especially his exquisite flower pieces,
quickly became his main and most successful pursuit. The contemplation of ephemeral beauty fit perfectly with the silent and introspective attitude of Fantin-Latour himself, whose still lifes can be considered moments of meditation and reverence. During the early 1870s, Fantin-Latour’s compositions evolved from energetic bouquets on dark backgrounds to beautiful and elegant arrangements including white fabrics, silverware, glass, and china. In this work, the different textures, reflections, and transparencies are painted with a muted virtuosity. The artist’s consideration of light and translucence pays tribute to the Dutch still-life tradition.
Excerpt from
Bonnie Pitman, ed., "Still Life with Vase of Hawthorn, Bowl of Cherries, Japanese Bowl, and Cup and Saucer," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 195.
From the plump cherries, to the lacy blossoms of the hawthorn flower, to the smooth surfaces of the ceramic dish and porcelain cup and saucer, this painting is a carefully observed arrangement of circular forms. Henri Théodore Fantin–Latour sensitively differentiates the light–reflecting qualities of each object. Compare, for instance, the reflection of light in the faceted exterior of the crystal dish to the opacity of the Japanese bowl. Close observation allowed the artist to capture the subtle nuances of light, color, form, and texture in this group of unassuming objects.
Heather MacDonald
The Lillian and James H. Clark Associate Curator of European Art
October 2010
Catalogue essays
Artist/designers
Fantin-Latour, Henri-Théodore (French, 1836-1904)
Cultures
Geography
Place of origin: Europe (continent): TGN: 1000003
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2001.5.FA
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object_notes_2_d-0262.xml.nores