A Fleur de Peau – Visiting Henri Fantin-Latour

2nd Year student and De Laszlo scholar Nneka Uzoigwe took the opportunity to visit the Fantin Latour Exhibition in Paris. It has now moved to Grenoble until 18th June. I remember taking a train to the Bowes Museum to see an exhibition of his work. It was definitely worth it.

 

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Coin de Table, 1872

This Spring I was lucky enough to make a day trip to Paris. It’s purpose was to go see, ‘A Fleur de Peau’, the first and rather monumental retrospective of Henri Fantin-Latour since 1982. As a favourite artist of mine the exhibition did not disappoint. Displayed at Musee du Luxembourg were over a hundred paintings and works on paper by Latour, as well a collection of rare private photos and lithographs displayed alongside working drawings, illustrating Fantin’s amazing imagination in translating reality through to mythology and symbolism.

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One of the things that surprised me the most, was the feel of optical illusion when viewing his work in person. I spent a lot of time in the exhibition walking back and forth in amazement. Fantin’s paintings are highly detailed but only more so from a distance and when flattened in photos. So this  made it hard to photograph certain area’s, when I wanted to take some personal visual notes on his possible processes of application and layering. Up-close a lot of the brush marks were broad and rough and built up in careful layers of thin to thick, which expertly brought to light what could be achieved by simply following the same processes we’ve been learning at the studio.

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A couple of notes I took –

Figures sketched in thin wash soft grisaille – then opaque mid tones brushed on showing form and brush marks – thick dry lightest lights then applied – then colourful glazes and thin opaque darks.

Warmth of background shown through leaves and stems.

If a cold background – a warm transparent umber wash applied first – before adding on opaque greens thinly and expressively for the leaves.

Background pre-prepared for still lives – flowers built up in thin colours and darks sketched in in rich glazes – lights dryly and thickly put in.

 

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