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Spirit of God over the Waters
Rukom oslikana uljana reprodukcija od $181 35 × 29 cm
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Spirit of God over the Waters (1752) je najpoznatije delo umetnika Simon Mathurin Lantara, koje se nalazi u muzeju Musée de Grenoble u gradu Grenoble. Od 2 dela umetnika Simon Mathurin Lantara u našem katalogu, izdvajamo ovih 2 koja kolekcionari i posetioci muzeja najčešće posmatraju, uz navođenje godine, muzeja i priče o svakom od njih.
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1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Simon Mathurin Lantara | Slike iz ovog spiska |
|---|---|---|---|
 Musée de Grenoble |
Grenoble | 1 | Spirit of God over the Waters |
Oko deset godina, od 1752 do 1761, obuhvata sva datirana remek-dela umetnika Simon Mathurin Lantara: evo ih, godinu po godinu.
Spirit of God over the Waters (1752)
23 godina: Spirit of God over the Waters datira iz 1752, a Simon Mathurin Lantara je rođen/a 1729.
Naš katalog sadrži 2 dela umetnika Simon Mathurin Lantara, datiranih od 1752 do 1761.
Većina njih se nalazi u Musée de Grenoble (Grenoble). U tabeli iznad su muzeji navedeni jedan po jedan.
Najstarije delo na ovoj stranici je iz Spirit of God over the Waters (1752), a najnovije iz Landscape, Morning Effect (1761).
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te slike.
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.
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:
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.