{
"data": {
"id": 103623,
"accession_number": "1921.57",
"share_license_status": "CC0",
"tombstone": "Immortality, 1886. Henri Fantin-Latour (French, 1836\u20131904). Lithograph; platemark: 22.9 x 14.8 cm (9 x 5 13/16 in.). The Cleveland Museum of Art, Gift of Ralph King, 1921.57",
"current_location": null,
"title": "Immortality",
"creation_date": "1886",
"creation_date_earliest": 1886,
"creation_date_latest": 1886,
"artists_tags": [
"male"
],
"culture": [
"France, 19th century"
],
"technique": "lithograph",
"support_materials": [],
"department": "Prints",
"collection": "PR - Lithograph",
"type": "Print",
"measurements": "Platemark: 22.9 x 14.8 cm (9 x 5 13/16 in.)",
"dimensions": {
"platemark": {
"height": 0.229,
"height_inch": 9,
"height_inch_fraction": 0.0,
"width": 0.148,
"width_inch": 5,
"width_inch_fraction": 0.8125
}
},
"state_of_the_work": "I",
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [],
"exhibitions": {
"current": [
{
"id": 203744,
"title": "Themes and Variations: Musical Drawings and Prints",
"description": "Themes and Variations: Musical Drawings and Prints. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).",
"opening_date": "2015-01-25T00:00:00"
}
],
"legacy": []
},
"provenance": [],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [
"3809.1920"
],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": "\"Wagnerism\"\u2014the fascination with Richard Wagner\u2019s music and aesthetic theories\u2014was ignited in Paris in 1861 with the premier of Tannh\u00e4user, an opera so controversial that it was forced to close after the third performance. Wagner\u2019s concept of the gesamtkunstwerk, the total work of art in which all the arts were to be equal and united, sparked the imagination of artists and writers of the period. Fantin-Latour in particular dedicated himself to transferring the suggestive powers of music to his graphic work.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q79508260"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1921.57-immortality"
]
},
"citations": [],
"catalogue_raisonne": "Hediard 61",
"url": "https://clevelandart.org/art/1921.57",
"images": {
"annotation": null,
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1921.57/1921.57_web.jpg",
"width": "621",
"height": "893",
"filesize": "435330",
"filename": "1921.57_web.jpg"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1921.57/1921.57_print.jpg",
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},
"full": {
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}
},
"alternate_images": [],
"creditline": "Gift of Ralph King",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 103623,
"creators": [
{
"id": 1862,
"description": "Henri Fantin-Latour (French, 1836\u20131904)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "At the age of ten, Henri Fantin-Latour began painting with his father, Th\u00e9odore Fantin-Latour (1805-1875). In 1850 he left Grenoble and moved to Paris to study under Horace Lecoq de Boisbaudran (1802-1897), an innovative and nontraditional instructor who developed and published his own unique teaching method based on painting and drawing from memory. Fantin studied with him for six years and then attended the \u00c9cole des Beaux-Arts for less than a year in 1854. Encouraged by J. A. M. Whistler (1834-1903), whom he met in 1858 at the Louvre, Fantin-Latour made several trips to London from 1859 to 1881, where he exhibited at the Royal Academy. London collectors appreciated his still lifes, and he began accepting numerous portrait commissions from English patrons. It was in London, through Whistler's brother-in-law Francis Seymour Haden (1818-1910), that Fantin first learned to etch. After his first Salon submissions were rejected in 1859, Fantin, in an effort to become better known in France, began exhibiting with his friend Manet (q.v.) and future impressionists Renoir (q.v.) and Monet (q.v.). In 1865 Fantin wrote collector Edwin Edwards: \"We form a group and make noise because there are lots of painters about and one is easily overlooked. When we get together . . . we gain strength in numbers and grow more adventurous. I thought it could last. That was my mistake.\" Unlike the realists and the impressionists, Fantin did not paint out of doors; rather, he preferred literary subjects, still lifes, and portraits that could be painted in his studio. In addition to portraits and still lifes, he made numerous paintings and more than 150 prints that were fantasy works and dream visions, paving the way for symbolist artists. These works were inspired by allegorical and mythological subjects as well as motivated by contemporary German composers such as Schumann and Wagner. After Fantin's death in 1904, critic Ren\u00e9-Marc Ferry wrote: \"when he found realism too limited and stifling, he lost himself in dreams, but his dreams went no further than the windows of his studio. Deep down, he was first and foremost a studio artist.\"1\r\n1. Druick and Hoog 1982, 28.",
"name_in_original_language": null,
"birth_year": "1836",
"death_year": "1904",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1921-01-13T00:00:00",
"sortable_date": 1886,
"date_added_to_oa": null,
"date_text": "1886",
"collapse_artists": false,
"on_loan": false,
"recently_acquired": false,
"record_type": "object",
"conservation_statement": null,
"has_conservation_images": false,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-05-29 05:35:29.370000"
}
}