Aktualizacja: Październik 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 2 dzieł Simon Mathurin Lantara w naszym katalogu
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Najsłynniejszy obraz artysty Simon Mathurin Lantara to Spirit of God over the Waters (1752); oryginał znajduje się w Musée de Grenoble w Grenoble. Z 2 dzieł Simon Mathurin Lantara w naszym katalogu, oto 2 najsłynniejszych, uszeregowanych wraz z rokiem powstania i muzeum, aby ułatwić wybór obrazu do zamówienia.
Muzeum, w którym znajduje się najwięcej obrazów prezentowanych na tej stronie.
| Muzea | Miasto | Dzieła artysty Simon Mathurin Lantara | Obrazy z tej listy |
|---|---|---|---|
 Musée de Grenoble |
Grenoble | 1 | Spirit of God over the Waters |
Obecne tutaj obrazy artysty Simon Mathurin Lantara pochodzą z okresu 10 lat, od 1752 do 1761. Przeglądaj je rok po roku, aby wybrać swój ulubiony.
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Spirit of God over the Waters (1752) zajmuje pierwsze miejsce.
Simon Mathurin Lantara miał 23 lat: Spirit of God over the Waters pochodzi z 1752, a Simon Mathurin Lantara urodził się w 1729.
W naszym katalogu znajduje się 2 dzieł artysty Simon Mathurin Lantara, datowanych od 1752 do 1761.
Głównie w Musée de Grenoble (Grenoble). Pełna lista znajduje się w powyższej tabeli muzeów.
Najwcześniejsze na tej stronie: Spirit of God over the Waters (1752). Najnowsze: Landscape, Morning Effect (1761).
Tak. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną lub wydruk. Otwórz obraz, wybierz rozmiar i złóż zamówienie.
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.
