Henri Fantin-Latour was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers. He was born Ignace Henri Jean Théodore Fantin-Latour in Isère; as a youth, he received drawing lessons from his father, an artist. In 1850 he entered the Ecole de Dessin. After studying at the École des Beaux-Arts in Paris from 1854, he devoted much time to copying the works of the old masters in the Musée du Louvre. Although Fantin-Latour befriended several of the young artists who would be associated with Impressionism, including Whistler and Manet, Fantin's own work remained conservative in style. Whistler brought attention to Fantin in England, where his still-lifes sold so well that they were "practically unknown in France during his lifetime". In addition to his realistic paintings, Fantin-Latour created imaginative lithographs inspired by the music of some of the great classical composers. In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Buré, Orne in Lower Normandy, where he died on 25 August 1904.
He was interred in the Cimetière du Montparnasse, France Marcel Proust mentions Fantin-Latour's work in In Search of Lost Time: "Many young women's hands would be incapable of doing what I see there," said the Prince, pointing to Mme de Villeparisis's unfinished watercolours. And he asked her whether she had seen the flower painting by Fantin-Latour, exhibited, his first major UK gallery exhibition in 40 years took place at the Bowes Museum in April 2011. Musée du Luxembourg presented a retrospective exhibition of his work in 2016-7 entitled "À fleur de peau"; the painting A basket of roses was used as the cover of New Order's album Power, Corruption & Lies by Peter Saville in 1983. Aberdeen Art Gallery Armand Hammer Museum of Art Art Gallery of New South Wales Art Gallery of the University of Rochester Art Institute of Chicago Arthur Ross Gallery Ashmolean Museum Birmingham Museums & Art Gallery Bowes Museum Carnegie Museum of Art Clark Art Institute Cleveland Museum of Art Dallas Museum of Art Detroit Institute of Arts Dixon Gallery and Gardens Fine Arts Museums of San Francisco Fitzwilliam Museum Fondation Bemberg Museum Foundation E.
G. Bührle Harvard University Art Museums Hermitage Museum Honolulu Museum of Art Indiana University Art Museum Kröller-Müller Museum Lady Lever Art Gallery La Piscine Los Angeles County Museum of Art MacKenzie Art Gallery Manchester City Art Gallery Metropolitan Museum of Art Montreal Museum of Fine Arts, Museum of Grenoble Musée de Picardie Musée des Beaux-Arts de Bordeaux Musée des Beaux-Arts de Lyon Musée des beaux-arts de Pau Musée des Beaux-Arts Musée des Beaux-Arts de Rouen Musée d'Orsay Musée du Louvre Musée des Ursulines Museo Nacional de Bellas Artes Museu Calouste Gulbenkian Museum of Fine Arts, Boston National Gallery of Art National Gallery of Canada National Gallery, London National Museum Cardiff Nelson-Atkins Museum of Art Norton Simon Museum Old Jail Art Center Philadelphia Museum of Art Rijksmuseum Saint Louis Art Museum San Diego Museum of Art Smart Museum of Art Tate Gallery Toledo Museum of Art Université de Liège Collections Victoria and Albert Museum Wadsworth Atheneum Winnipeg Art Gallery Gibson, Frank F.
The art of Henri Fantin-Latour, his life and work, Drane's ltd. 1924. Lucie-Smith, Henri Fantin-Latour, New York, Rizzoli, 1977. Poulet, Anne L. & Murphy, A. R. Corot to Braque: French Paintings from the Museum of Fine Arts, Boston: The Museum, 1979. ISBN 0-87846-134-5 Rosenblum, Paintings in the Musée d'Orsay, New York: Stewart, Tabori & Chang, 1989. ISBN 1-55670-099-7 Henri-Fantin-Latour.org 273 works by Henri Fantin-Latour Henri Fantin-Latour, Still Life, 1867, Bryn Mawr College Art and Artifact Collections
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Netherlands Institute for Art History
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation and books on Western art from the late Middle Ages until modern times. All of this is open to the public, much of it has been digitized and is available on their website; the main goal of the bureau is to collect and make art research available, most notably in the field of Dutch Masters. Via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries; the library owns 450,000 titles, of which ca. 150,000 are auction catalogs. There are ca. 3,000 magazines, of which 600 are running subscriptions. Though most of the text is in Dutch, the standard record format includes a link to library entries and images of known works, which include English as well as Dutch titles; the RKD manages the Dutch version of the Art and Architecture Thesaurus, a thesaurus of terms for management of information on art and architecture.
The original version is an initiative of the Getty Research Institute in California. The collection was started through bequests by Frits Lugt, art historian and owner of a massive collection of drawings and prints, Cornelis Hofstede de Groot, a collector, art historian and museum curator, their bequest formed the basis for both the art collection and the library, now housed in the Koninklijke Bibliotheek. Though not all of the library's holdings have been digitised, much of its metadata is accessible online; the website itself is available in both an English user interface. In the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/artists/ followed by the artist's record number. For example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number.
To reference an artwork page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/images/ followed by the artwork's record number. For example, the artwork record number for The Night Watch is 3063, so its RKD artwork page can be referenced; the Art and Architecture Thesaurus assigns a record for each term, but these can not be referenced online by record number. Rather, they are used in the databases and the databases can be searched for terms. For example, the painting called "The Night Watch" is a militia painting, all records fitting this keyword can be seen by selecting this from the image screen; the thesaurus is a set of general terms, but the RKD contains a database for an alternate form of describing artworks, that today is filled with biblical references. This is the iconclass database. To see all images that depict Miriam's dance, the associated iconclass code 71E1232 can be used as a special search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Jean-Charles Cazin was a French landscape painter and ceramicist. The son of a well-known doctor, FJ Cazin, he was born at Pas-de-Calais. After studying in France, he went to England, where he was influenced by the pre-Raphaelite movement, his chief earlier pictures have a religious interest, shown in such examples as The Flight into Egypt, or Hagar and Ishmael. In 1890, Theodore Child discussed a few of his paintings in Harper's Magazine, he painted a scene from Ulysses after the Shipwreck. He was made an officer of the Legion of Honour in 1889, his charming and poetical treatment of landscape is the feature in his tonalism painting which in years has given them an increasing value among connoisseurs. His wife, Marie Cazin, his pupil and exhibited her first picture at the Salon in 1876, the same year in which Cazin himself made his debut there, was a well-known artist and sculptor. In 1885—1886 he posed for the figure of Eustache de Saint-Pierre in his friends Auguste Rodins The Burghers of Calais Bruce Crane • Yann GOBERT-SERGENT, Jean-Charles Cazin, maître intimiste des dunes et des ciels boulonnais, Cercle Historique Portelois, juin 2018.
• Yann GOBERT-SERGENT, Promenade Intimiste dans les Dunes du Boulonnais – Jean-Charles Cazin, Cahiers du Patrimoine Boulonnais, n° 78, décembre 2018, pp. 26-32. This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Cazin, Jean Charles". Encyclopædia Britannica. Cambridge University Press. Media related to Jean-Charles Cazin at Wikimedia Commons Works by or about Jean-Charles Cazin at Internet Archive A Harmony of Color
Louis-Oscar Roty known as Oscar Roty was one of the most celebrated medallists of the Art Nouveau period. Louis-Oscar Roty was born on 11 June 1846 in Paris, he first studied painting and sculpture, working under Lecoq de Boisbaudran, Augustin-Alexandre Dumont and François-Joseph-Hubert Ponscarme. Ponscarme, his mentor, was responsible for the renewal of medallic art at the end of the nineteenth century. In 1867 he had abandoned the medal rim in his design for his medal of Naudet, the background and graphics becoming part of the sculpture. Roty, along with Champlain, Alexandre Charpentier, others, influenced by the Art Nouveau movement, advanced this resurgence of art in medal design. Roty, in particular, introduced the Renaissance form of the plaquette, which further emphasized the significance of the medal as a work of art, he designed hundreds of art medals celebrated for their graceful designs. Following some difficulties early in his career, in 1882 Roty won the second prize in the Prix de Rome.
This success was followed by many others, including the Grand Prix de Rome in 1875 and the Grand Prix at the 1889 Exposition Universelle in Paris. He was appointed to the rank of Professor in the Académie des Beaux-Arts in 1888, in 1897 became its President. In 1889 he became an Officer in the Legion of Honor and rose to Cammander in 1900. At the height of his career, he was awarded the Medal of Honor at the Salon in 1905. In 1878 Oscar Roty married daughter of the wrought iron craftsman Pierre Boulanger. Besides a huge number of medals and plaquettes, Roty is well known as the designer of the “Semeuse” image on French silver coins and stamps, his medallic art can be found in nearly all European museums. A large number of his medals and plaquettes can be viewed in the Kunsthalle Hamburg and the Musée Oscar Roty in Jargeau, France. Dr. George F. Kunz wrote about his contributions to the Medallic Arts. Gilman, D. C.. "Roty, Louis Oscar". New International Encyclopedia. New York: Dodd, Mead. Oscar Roty in American public collections, on the French Sculpture Census website
Léon Augustin Lhermitte
Léon Augustin Lhermitte was a French naturalist painter and etcher whose primary subject matter was rural scenes depicting peasants at work. He was a student of Lecoq de Boisbaudran, he gained recognition after his show in the Paris Salon in 1864, his many awards include the French Legion of Honour and the Grand Prize at the Exposition Universelle in 1889. Lhermitte’s innovative use of pastels won him the admiration of his contemporaries. Vincent van Gogh wrote that "If every month Le Monde Illustré published one of his compositions... it would be a great pleasure for me to be able to follow it. It is certain that for years I have not seen anything as beautiful as this scene by Lhermitte... I am too preoccupied by Lhermitte this evening to be able to talk of other things."Lhermitte is represented in the collections of museums around the world, including Amsterdam, Brussels, Florence, Moscow, Paris and Washington. Léon-Augustin Lhermitte's The Gleaners. A part of the Realism movement and an avid realist painter, Lhermitte depicts the working class poverty in France.
Taking obvious inspiration from Millet, a painting of the same name, Lhermitte in a series of works displayed at the Salon aims to capture this moment in time. When comparing his work to Millet's the poses of the women are similar if not the same. In the foreground there are two women bent over picking up the grains left behind. An obvious difference between this work and Millet's is that there is no large crowd of people working in the background. Though the women grasp the wheat in their hands on the left is shown a cache of what they have collected; this is vastly different from Millet's. Lhermitte shows quite a bit of excess; when viewing the ground, identifying individual wheat grains is difficult if not impossible. This could be a representation of how difficult the work is, the endless task of gathering enough wheat to keep the families of these women fed. Around the same time the painting by Lhermitte was published and presented at the Salon, Millet's own "The Gleaners" was beginning to receive public appreciation.
This led Lhermitte to continue painting scenes of rural France, many of which share the same name, "The Gleaners". Looking at the individual gleaners, they are each given some individual "character". Rather than having plain smooth looking clothes like in Millet's painting, Lhermitte opted for looser fitting shirts and added more detail to the faces of the women; the second woman reaching down has a pained expression on her face, showing the effort of reaching down all day. While the women in Millet's painting share the same traits, the women in Lhermitte's have different expressions; the two standing women each hold their bundle as if they are taking a small break, while the woman at the far end has her hand on her back and an exasperated look on her face. This piece leaves the viewer without a sense of closure, as it seems the day is just beginning and a hard day of work is still ahead. Media related to Léon Augustin Lhermitte at Wikimedia Commons