A Basket of Roses, 1890 Henri Fantin-Latour (1836-1904)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Henri Fantin-Latour also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting A Basket of Roses is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

A cluster of roses appears to tumble from their wicker cradle, scattering across the table’s surface with a gentle sense of disarray. Each bloom tilts at a slightly different angle, revealing the individual character of each petal - from the palest cream to a deep, velvety crimson. There is a sense that these delicate flowers have been hastily gathered, yet the composition hints at a painstaking concern for balance. The bare, mottled background sets the stage for the blossoms to glow, amplifying their presence and isolating them in a realm where only their beauty speaks.

In this still life, color is paramount. The darker reds placed at the top and bottom of the basket anchor the scene in depth, while the lighter hues - white, ivory, and pale pink - seem to shimmer as they catch the bright, clear light. These soft tones underscore the weightlessness of the petals, as though a single gust of air could send them aloft. The deft handling of paint, almost photographic in its detail, invites the eye to linger on every subtle shift in tone and every nuanced fold of tissue-thin petal.

Each twisted weave of the basket is meticulously rendered, its brown hues receding into shadow and creating a convincing spatial depth that draws the flowers forward. This effect is further heightened by the contrast of glossy green leaves and the occasional deep red rose that acts as a visual stop. The composition overall is both restrained and quietly theatrical - a skillful orchestration of color and form that guides our gaze around the rim of the basket and then gently outward toward the scattered blooms. The contrast between the spare background and the opulent arrangement would have been perfectly suited to the Victorian taste for abundance, yet with a refined touch that eschews excess.

The historical echoes are evident in Fantin-Latour’s admiration for Dutch flower painters, although he worked in the late 19th century without employing the same method of composing from stored sketches. Instead, he timed his process with the blooms themselves, purchasing fresh flowers when they were in season and painting against the clock before their inevitable fade. The absorbent canvas he often used facilitated quick work, helping him capture the transience of his subject. The result is a contemplative study of color and light - fleeting natural beauty held in a precise, timeless moment.