Madame Lerolle - Henri Fantin-Latour
Archival giclée
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Description
A refined 1882 portrait by Henri Fantin-Latour, depicting Madame Lerolle alongside a delicate arrangement of cut flowers.
Henri Fantin-Latour painted this portrait of Madame Lerolle in 1882. The subject, Madeleine Lerolle, stands in a three-quarter view, positioned beside a wooden table that holds a glass vase of cut flowers. Her white dress, rendered with soft brushwork, contrasts against the muted, atmospheric background typical of the artist's studio portraits.
Fantin-Latour is widely recognised for his ability to balance portraiture with still-life elements. In this composition, the flowers on the table serve as a secondary focus, echoing the delicate nature of the sitter. The artist employs a restrained palette, favouring subtle transitions of tone over high-contrast lighting. This approach creates a sense of quietude and introspection. The sitter's gaze is direct, yet her posture remains relaxed, suggesting a comfortable rapport between the artist and his subject.
The painting demonstrates the technical precision Fantin-Latour applied to fabric textures and floral arrangements. The lace details of the dress and the individual petals of the roses are handled with careful observation. By integrating the floral motif into the portrait, the artist avoids the rigidity often associated with formal commissions of the period. The work remains a characteristic example of his late nineteenth-century output, where he moved between the demands of society portraiture and his own interest in the quiet observation of domestic life. The muted grey-green backdrop ensures that the figure remains the primary subject, while the scattered blossoms on the table provide a tactile quality to the foreground. This print captures the soft, painterly quality of the original oil on canvas, preserving the subtle tonal shifts and the calm atmosphere of the 1882 composition.
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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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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
Madame Lerolle - 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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