Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Jonge vrouw onder een boom bij zonsondergang, genaamd 'Herfst' - Henri Fantin-Latour
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A pensive young woman sits beneath a tree as the sun sets in Henri Fantin-Latour's 'Jonge vrouw onder een boom bij zonsondergang, genaamd 'Herfst''. The muted palette and contemplative mood evoke a sense of autumnal melancholy.
Henri Fantin-Latour, a French painter and lithographer, is best known for his flower paintings and group portraits of Parisian artists and writers. Although associated with the Impressionist movement, Fantin-Latour maintained a more traditional style throughout his career. He exhibited at the Salon, rather than with the Impressionists, and his work displays a concern for form and composition that sets him apart from the looser brushwork and emphasis on light characteristic of Impressionism. 'Jonge vrouw onder een boom bij zonsondergang, genaamd 'Herfst'' depicts a young woman seated beneath a tree at sunset. The scene is rendered in muted tones of green, brown, and orange, creating a melancholic atmosphere. The woman, draped in a red shawl, is lost in thought, her head bowed and her hand resting on her chin. The setting sun casts a warm glow on the horizon, adding to the overall sense of quiet contemplation. The painting's title, 'Herfst' (Autumn), reinforces the themes of transience and reflection.
Return policy
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.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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.
Complete The Look
Jonge vrouw onder een boom bij zonsondergang, genaamd 'Herfst' - Henri Fantin-Latour
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Henri Fantin Latour
Fantin-Latour painted group portraits that functioned as manifestos. Homage to Delacroix, completed in 1864, gathered Manet, Baudelaire, Whistler and others around a portrait of the recently deceased painter. A Studio at Les Batignolles, painted in 1870, arranged the same circle around Manet at his easel. The Corner of the Table, in 1872, seated Verlaine and Rimbaud among the Parnassian poets. Each painting declared an allegiance, mapped a network, and recorded the face of everyone who mattered in Parisian culture at that moment.
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.
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.
Our Features
Designed for Lasting Impact
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
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Why Choose Us ?
Damage-free delivery guarantee
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Museum-Quality Materials
Artist Biography
Henri Fantin-Latour
Fantin-Latour painted group portraits that functioned as manifestos. Homage to Delacroix, completed in 1864, gathered Manet, Baudelaire, Whistler and others around a portrait of the recently deceased painter. A Studio at Les Batignolles, painted in 1870, arranged the same circle around Manet at his easel. The Corner of the Table, in 1872, seated Verlaine and Rimbaud among the Parnassian poets. Each painting declared an allegiance, mapped a network, and recorded the face of everyone who mattered in Parisian culture at that moment.
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.
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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