Stručne povedané
Spirit of God over the Waters (1752) je obrazom umelca Simon Mathurin Lantara, ktorý priťahuje najviac pohľadov; originál sa nachádza v múzeu Musée de Grenoble, Grenoble. Z 2 diel umelca Simon Mathurin Lantara v našom katalógu je týchto 2 najznámejších; každá z nich je jedinečným originálom prezentovaným s jeho rokom vzniku, múzeom a dôvodom, prečo pretrváva.
Top 10 obrazov umelca Simon Mathurin Lantara podľa výberu galérie
Múzeá, ktoré uchovávajú originály umelca Simon Mathurin Lantara
Múzeum, ktoré vlastní najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Simon Mathurin Lantara | Obrazy z tohto zoznamu |
|---|---|---|---|
| Grenoble | 1 | Spirit of God over the Waters |
Simon Mathurin Lantara v priebehu rokov: jedinečné originály každého diela
Originály s dátumovaním od Simon Mathurin Lantara, ktoré sú tu zobrazené, sa pohybujú v období približne desiatich rokov, od 1752 do 1761: oko ich sleduje rok po roku.
Obrazy umelca Simon Mathurin Lantara: otázky pre galériu
Akým najznámejším dielom sa pýta Simon Mathurin Lantara?Odhaľte odpoveď
Spirit of God over the Waters (1752)
V akom veku vytvoril/a Simon Mathurin Lantara dielo Spirit of God over the Waters?Odhaľte odpoveď
23 rokov: Spirit of God over the Waters vzniklo v roku 1752 a Simon Mathurin Lantara sa narodil/a v roku 1729.
Koľko je známych diel umelca Simon Mathurin Lantara?Odhaľte odpoveď
Náš katalóg obsahuje 2 diel od umelca Simon Mathurin Lantara z perioda od 1752 do 1761.
Kde možno vidieť najznámejšie originály od Simon Mathurin Lantara?Odhaľte odpoveď
Väčšinou v Musée de Grenoble (Grenoble). Tabuľka múzeí vyššie ich všetky uvádza.
Ktorý z najslávnejších obrazov autora Simon Mathurin Lantara je najstarší a ktorý najnovší?Odhaľte odpoveď
Na tejto stránke je najstaršie dielo z Spirit of God over the Waters (1752) a najnovšie z Landscape, Morning Effect (1761).
Simon Mathurin Lantara: portrét umelca
The Unconventional Path of a French Landscape Painter
To understand Simon Mathurin Lantara, one must look past the polished galleries of Paris and toward the humble beginnings in Oncy. He was not born into the upper echelons of the art world; his father was a weaver, and Lantara himself began his life as a herdboy. This raw start provided a perspective that formal training at Versailles could not replicate. While he possessed significant talent and facility, his temperament remained fundamentally at odds with the structured expectations of eighteenth-century society. He found the constraints of a regular life and the company of the educated classes to be deeply tiresome.
His career was marked by a refusal to conform to the social graces required of a successful painter. While rich amateurs occasionally drew him into their homes, Lantara often failed to produce work when faced with the pressures of high living and ease. He preferred the company of obscure workmen over the refined salons of his era. This friction between his natural ability and his personal lifestyle defined his existence until his death in Paris in 1778.
Technical Execution and Artistic Contributions
Lantara’s work is characterized by a specific focus on landscape and sea-pieces. His technical skill was recognized early, yet his surviving body of work remains limited in number. Much of what we know of his output comes from the way other artists interacted with his canvases. Figures were often added to his landscapes and sea-pieces by contemporaries such as Émile Bernard and Joseph Vernet. This collaborative reality suggests that while Lantara provided the essential environmental foundation, the narrative elements were sometimes completed by others.
His compositions frequently explored natural phenomena and topographical details:
- Moonlit landscapes featuring rivers and castles.
- Architectural studies, such as drawings of a ruined gate at Vincennes Castle.
- River landscapes incorporating elements like grottos or hilly terrain with forests.
- Studies of light, including works depicting sunset or the spirit of God floating on water.
Historical Presence and Legacy
The significance of Lantara lies in his role as a precursor to later movements. His approach to landscape serves as an early link to the Barbizon School and nineteenth-century landscape traditions. Although he lived a life of perceived carelessness, his impact reached beyond his immediate circle through engravings found in the works of artists like Lebas, Piquenot, Duret, and Mouchy.
His presence in major collections confirms that his talent was not merely anecdotal. The Louvre holds a landscape titled Morning, signed and dated 1761. Other notable holdings include pieces in the Musée Carnavalet, the National Gallery of Art, and the Metropolitan Museum of Art. Even when his personal life lacked stability, the physical remnants of his skill remained anchored in the permanent records of French and international art institutions.
