Actualizat Octombrie 2026 · clasat în funcție de scorul nostru de popularitate (căutări, vizite și comenzi pentru fiecare operă) · 2 lucrări ale lui Simon Mathurin Lantara în catalogul nostru
Pe scurt
Dacă cunoașteți o pictură a lui Simon Mathurin Lantara, este probabil Spirit of God over the Waters (1752), care este expusă la Musée de Grenoble, Grenoble. Catalogul nostru conține 2 lucrări ale lui Simon Mathurin Lantara. Mai jos sunt cele 2 opere cele mai cunoscute, fiecare cu anul creării, locul unde poate fi găsită și trăsăturile care o fac specială.
Muzeul care deține cele mai multe dintre picturile prezentate pe această pagină.
| Muzee | Oraș | Lucrări lui Simon Mathurin Lantara | Picturi din această listă |
|---|---|---|---|
 Musée de Grenoble |
Grenoble | 1 | Spirit of God over the Waters |
10 ani, de la 1752 la 1761: aceasta este întreaga perioadă a lucrărilor datate ale lui Simon Mathurin Lantara de aici. Parcurgeți-le an de an.
Alege un an pentru a vedea lucrările sale.
În topul listei se află Spirit of God over the Waters (1752).
23 ani. Simon Mathurin Lantara s-a născut în 1729, iar Spirit of God over the Waters datează din 1752.
În catalogul nostru avem 2 lucrări ale lui Simon Mathurin Lantara, datate între 1752 și 1761.
Le vei găsi pe majoritatea în Musée de Grenoble (Grenoble). Lista muzeelor de mai sus oferă detalierea completă.
Cea mai veche piesă de aici este Spirit of God over the Waters (1752); cea mai recentă este Landscape, Morning Effect (1761).
Da. Fiecare pictură de pe această pagină este disponibilă ca reproducere pictată manual în ulei sau ca print, în dimensiunea care vă conveni. Accesați pagina picturii pentru a comanda.
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.
