Henri Fantin-Latour:
Picture "White lilies in a glass vase"

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Limited, 950 pieces | Original dietz replica | Oil on canvas | On stretcher | Real wood bar | Size approx. 48 x 39 cm (H / W)

http://www.arsmundi.com/

Henri Fantin-Latour: Picture "White lilies in a glass vase"

French painter and graphic designer (1836-1904), who received painting lessons. He was temporarily employed in Courbet. A little-known area of his work is the flower painting. He brought some flowers pieces after each country stay, that took almost exclusively their way to England.

Original: Oil on canvas, Walter Annenberg, Palm Springs.

Original dietz replica. Oil on canvas in 110 colours. Limited edition 950 pieces. Each canvas replica is taut as the template on stretcher frames, so you can tighten the canvas at room temperature and humidity fluctuations. Framed with silver real wood bar. Size incl. frame approx 48 x 39 cm (H / W).

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Henri Fantin-Latour (1836-1904) lived his time in a certain sense in Paris, at the epicentre of the early modernism. He was friends with many writers and painters, who revolutionized art. But he maintained although regular contact with the Impressionists (Manet, Degas and Whistler who were among his friends), he remained committed to his realism painting style of Gustave Courbet.

He became famous by his still lifes, which he executed in almost photographic accuracy and that his painter colleagues who pursuing new ideas and approaches had mostly appreciated. In addition to series of group portraits, in which he set his illustrious circle of friends in the picture - especially in the "homage to Delacroix" 1865 (showing the deceased painter and others. Surrounded by Whistler, Manet, Baudelaire and Fantin-Latour himself), in 1870 resulting "Atelier des Batignolles", the Manet and its vicinity portrays (including. Zola, Monet and Renoir).

His lithographs, where he dealt with the music of his time were of great influence. Nowadays they are historically as a bridge from realism to later symbolism.
The mold is usually taken directly from the original, so that the replica reproduces even the finest details. After casting the replica, using the most appropriate method, the surface is polished, patinated, gilded or painted according to the original.

A replica of ars mundi is a recognizable image of the original.

Günter Dietz developed a revolutionary method for the authentic reproduction of images, where not the usual printing inks are used, but the same original colors used by the artist. Depending on the artist's painting technique, up to 180 (!) various paint applications need to be applied in order to achieve a perfect replica of the original that also sensationally reflects the "relief" and pastosity of colour composition.

Here are the examples of  'Couple at the Garden Table' by August Macke:

Dietz-replica Inking

Similarly, the material of the original carrier, such as reproduction on canvas, paper, wood, copper, parchment is always used.

The result is a perfect, gridless reproduction that comes very close to the original in expressiveness and effect. Even museum specialists often can not distinguish the replica from the original. Therefore, a special security notice must be inserted, which is visible only under X-rays.

The circulation of most of the Dietz replicas is limited, usualy to 950 copies. Each canvas replica is stretched onto a frame as the original, so you can retighten the canvas according to variations in room temperature and humidity. High-quality solid wood strips round off the image of every Dietz replica.

Numerous masterpiece paintings of Rembrandt, Caspar David Friedrich, Claude Monet, Gustav Klimt and various others have been recreated by the Dietz Offizin. Famous modern artists such as Pablo Picasso, Salvador Dalí, Max Ernst, Friedensreich Hundertwasser, Joan Miró, Marc Chagall used the method developed by Günter Dietz to have replicas of their works produced.

Press commentaries:

“The Dietz System provides images as good as the originals. What the electronics did with the invention of Hi-Fi and stereo for music playback - here the graphic technology made up for visual art.“ (Die Zeit)

“In theory there is no difference between the original and the Dietz replica. They should not be called reproductions, but facsimiles.“ (Newsweek)

“For art printers all over the world remains unrealizable to this day, what managed only Dietz with the help of printing technology: The perfect reproduction of painted works. “ (Der Spiegel)

Konrad Adenauer at the presentation of Dietz replica of the frieze "To the young St. Peter" (Bundeshaus Bonn)

Konrad Adenauer in the Dietz Offizin

Günter Dietz (on the left) and Marino Marini

Günter Dietz and Marino Marini

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