A light sketch drawing of a scene full of activity. Towards the center of the piece is a pair of lovers in embrace. All around them are nude figures, identified as children, playing by the water. Some are fishing, others are in a boat, and the remainder are either swimming of reclining by the water's side. Below these figures is a study drawing of a person's profile angled to the left, while above the scene is a more detailed study drawing of a young boy's head.
A light sketch of a large procession of men and animals walking from the right to the left of the scene. The first few men walking are holding instruments and playing while walking. As the scene continutes, men and beast walk together; some of the animals seen are a boar, a ram, dogs and an elephant outfitted with a decorative covering and carrying a large vessel. In the background a building with columns sits on a tree-crovered hilly landscape.
This work is horizontally oriented. The lower left quadrant shows a horse-pulled cart with peasants resting in it. In front of the cart, a man and a dog walk in a field. The sky occupies the upper half of the work, and the horizon line is dominated by a church steeple as well as buildings and trees. Birds circle in the sky.
This bucolic rural village scene is evidence of the growing interest in landscape subjects in Dutch seventeenth century art. This small, but highly finished, drawing depicts a horse-drawn cart full of people approaching a rural village. A man and dog appear in the foreground next to the cart. The village in the middle ground consists of a number of small houses among some trees nestled against a small church, whose steeple rises into the sky. Three figures are visible standing in the road at the edge of the village. Birds, depicted as dark silhouettes, wheel in the sky.
Bust-length figure of a woman with head turned proper left, down-turned eyelids and crescent moon atop head; executed in bronze with a rich, dark patina on a brownish stone base.
It is unclear whether this bust was first conceived as a study for Falguiere's full-length sculpture of Diana or as a spin-off to capitalize on the popularity of the finished statue. Regardless, Falguiere’s “Bust of Diana” was so popular at the end of the 19th century that many versions were made in at least three sizes and in different types of media, including marble and bronze. The bust would have appealed to its 19th century audience for its portrait-like realism, arresting pose, idealized beauty and Classical subject matter. In Roman mythology, Diana was goddess of the hunt and personification of the moon represented by the crescent atop her head. Abstracted from the context of the full-length statue in which her right arm is raised while her left holds a bow, Diana’s lowered eyelids and turned head give her an austere, slightly haughty appearance.
This painting depicts a glass vase with roses, phlox, and other flowers standing on a table. One pink rose lies next to the vase on the table; the background is an undifferentiated background of brown/tan.
Although Fantin-Latour exhibited with the Impressionists, his work is not truly Impressionist in style, but grounded in study of the Old Masters and work in the studio. His still lifes have an almost palpable atmosphere and sense of light. Here, the brilliantly lit flowers stand out against the background, giving them great definition and mass. The classical balance and grandeur of the composition, beauty of coloration, and details of observation elevate Fantin-Latour's still life paintings beyond the ordinary.