Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 2 teost Simon Mathurin Lantara meie kataloogis
Lühidalt
Kui teate ühe Simon Mathurin Lantara maali, siis see on tõenäoliselt Spirit of God over the Waters (1752), mis ripub Musée de Grenoble-is, Grenoble. Meie kataloogis on 2 teost kunstnikult Simon Mathurin Lantara. Allpool on 2 kõige tuntumat teost koos aasta, asukoha ja eripärase kirjeldusega.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Simon Mathurin Lantara teosid | Selle nimekirja maalid |
|---|---|---|---|
 Musée de Grenoble |
Grenoble | 1 | Spirit of God over the Waters |
10 aastat, 1752 kuni 1761: see on kogu Simon Mathurin Lantara dataga teostatud teoste azoo. Lähtu läbi aastaaegade kaupa.
Vali aasta, et näha selle aasta teoseid.
Nimekirja tipis on Spirit of God over the Waters (1752).
23 aastat vanus. Simon Mathurin Lantara sündis aastal 1729 ning teos Spirit of God over the Waters pärineb aastast 1752.
Meie kataloogist leiate 2 teost kunstnikult Simon Mathurin Lantara, mis on pärinev ajavahemikus 1752 kuni 1761.
Enamik neist on leetav Musée de Grenoble (Grenoble). Ülemal oleval muuseumite ninal on täielik ülevaade.
Kõige vanem teos siin on Spirit of God over the Waters (1752); kõige värskeim on Landscape, Morning Effect (1761).
Jah. Iga maal on sellel lehel saadav kas käsitsi maalitud õlimaalina või trükkina, teile sobivas suuruses. Tellimiseks avage maali oma leht.
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.
