Word: fantine
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...peaches: the paintings depict shoes, tea sets, books, skulls, figures, and carcasses. Experimenting with unique subject matter allowed impressionists to stretch the limits of still life painting, and the exhibition successfully illustrates this breadth. The range of artists is also extraordinary, from those known for still lifes like Fantin-Latour and Cézanne, to those known for landscapes like Monet, Pissarro and Sisley, to those known for figure painting like Degas, Cassatt and Caillebotte...
...paintings in Impressionist Still Life are all there for a reason, but some are more famous or considered more significant than others. Henri Fantin-Latour’s “Still Life: Corner of a Table” (1873), for example, is thought to be the culmination of what he was trying to do artistically: to arrange a still life so as to make it seem unarranged...
Impressionist Still Life is rich with meaning because many of the paintings, as well as being important aesthetically, have anecdotal significance. They trace friendships and artistic influences among the featured painters and tell personal histories. Fantin-Latour’s beautifully balanced composition of color compliments, “The Betrothal Still Life” (1869), was the artist’s proposal of marriage to Mademoiselle Dubourg. “Moss Roses in a Vase” (1882) is a touching still life Manet painted while dying, composed of flowers given to him by friends (most of whom were...
...only an American one. As a young man, he worked with Gustave Courbet. He knew, and was respected by, some of the finest artists in Paris: Edgar Degas, Edouard Manet. He appears (with Baudelaire, Manet and other French luminaries) in Henri Fantin-Latour's group portrait of the rising art stars of 1864, Homage to Delacroix. "This American is a great artist, and the only one of whom America can be justly proud," said Camille Pissarro. And Marcel Proust turned part of his name, unpronounceable by the French, into an anagram: he became the painter Elstir in A la Recherche...
...narrative" of the galleries is split in half. On the left is the realist tradition of the 19th century, with its impulse to social description, radical criticism and meditation on things as they are -- Daumier, Millet, the Barbizon painters, Fantin-Latour, the rural sentimentalists like Jules Breton, culminating in Courbet at his mightiest (The Studio, The Funeral at Ornans and a portrait of a trout that has more death in it than Rubens could get in a whole Crucifixion). On the right are academic idealism and romanticism, Ingres and his heirs, Delacroix and his, smooth recipes of Grecian flesh...