Lydé - Henri Fantin-Latour
Archival giclée
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Description
A delicate lithograph by Henri Fantin-Latour, depicting a mythological figure in a soft, atmospheric style.
Henri Fantin-Latour, a French artist known for his technical mastery in both painting and lithography, produced this work during a period when he moved away from his earlier realist portraits toward more imaginative, dreamlike subjects. Lydé belongs to a series of lithographs inspired by classical mythology and the music of composers such as Wagner, Berlioz, and Schumann. The composition features a central female figure, Lydé, depicted in a soft, ethereal manner that characterises Fantin-Latour's later graphic output.
The artist employs a delicate, atmospheric technique, using the lithographic stone to create hazy transitions between light and shadow. The figure appears to emerge from a dark, textured background, suggesting a woodland or mythological setting. Her posture is relaxed, with one arm raised, creating a sense of movement within the stillness of the scene. A smaller, secondary figure is visible to the left, providing a sense of scale and narrative context to the primary subject. The work demonstrates the artist's ability to manipulate tone and texture, achieving a painterly quality through the medium of printmaking.
Fantin-Latour's approach to these mythological scenes often involved multiple states and revisions, reflecting his meticulous nature. The soft focus and blurred edges contribute to the poetic quality of the image, distancing it from the rigid academic standards of the time. This print captures the artist's interest in the intersection of music and visual art, where the subject matter serves as a vehicle for mood and emotional resonance rather than strict historical documentation. The inclusion of the artist's signature in the lower right corner confirms its status as a finished graphic work, intended for a discerning audience of collectors who appreciated the nuance of black and white print media.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Lydé - Henri Fantin-Latour
Artist Biography
Henri Fantin Latour
His flower paintings are the opposite. They are quiet, domestic, technically precise, and painted without any obvious agenda. Roses in a glass bowl. Peonies on a table. He exhibited them in England, where they sold steadily to collectors who had no interest in Parisian literary politics. In France, during his lifetime, the flowers were practically unknown. The irony is that they are what most people now associate with his name.
He trained under Horace Lecoq de Boisbaudran, an unorthodox teacher who had his students draw from memory rather than from the model. His classmates at the Ecole des Beaux-Arts included Degas and Alphonse Legros. He was friends with Manet, Whistler, Morisot and most of the painters who became the Impressionists, but his own style remained conservative: careful drawing, smooth finish, traditional composition. He stood at the centre of the avant-garde and painted like an old master, which is an unusual position to occupy for forty years.
He was also a member of the Jinglar Society, a nine-person dining club devoted to Japanese art and ceramics, which met to eat food off Japanese plates.
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