Tannhäuser 1886

Curator: Henri Fantin-Latour's 1886 oil painting, "Tannhäuser," offers a glimpse into a scene inspired by Wagner's opera of the same name. Editor: Oh, the swirling figures give me a fever dream vibe—like a hazy recollection of a wild garden party. Is that supposed to be Venus and her nymphs? Curator: Exactly! Fantin-Latour was deeply inspired by Wagner's operas. Here, he visualizes the mythical Venusberg, a realm of sensual pleasure where Tannhäuser, the knight and poet, finds himself seduced. The nymphs embody that world’s intoxicating allure. Editor: You can almost feel the weight of the impasto on the canvas—look at how thickly the oil paint is applied to create the forest and swirling garments. It reminds me a little bit of cake frosting, if I'm honest. Do we know if Fantin-Latour experimented with particular varnishes? The tones are very warm for such a potentially sinful scene. Curator: I agree—it has a decadent, rich quality. Fantin-Latour had a particular sensitivity to the atmospheric effects of colour, often layering glazes. Considering the period and Wagner’s influence, it could be argued the intent was not sinful. Wagner explored themes of redemption through love, which Fantin-Latour possibly tapped into here. The almost ethereal quality certainly softens any harsh judgements. Editor: Good point! Seeing the art of painting and operatic visions entangled, it's striking how much they both rely on, and construct, illusions through craft. Whether through pigment and canvas, or libretto and performance, they provide immersive aesthetic experience. And it does appear here that there is some form of labor by all who feature in the picture...a hedonistic sort of labor perhaps. Curator: Very much so. A sensory exploration for both the creator and viewer. It truly illustrates the artist's fascination with translating music into a visual form, inviting us to lose ourselves in Wagnerian mythos. Editor: Well, now I am dying to know what instruments that musician nymph has been crafting for the day's orchestral agenda. Let's look further at Fantin-Latour’s materials on our next viewing.