A master at painting white 

Henri Fantin-Latour  (1836-1904) born in Grenoble of mixed French and Russian parentage, lived and worked for the most of his life in Paris producing flower-paintings, still-life, portraits and dream-like fantasies.  His flower studies are a curious combination of the precision and elegance of Chardin, especially in his feelings for form and subtle differences in texture; the tradition established by flower painters like Louise Moillon in the seventh century; a heightened naturalism influenced by photography and the influence of Japanese art, with its simplicity and immediacy allied to the skillful and deliberate juxtaposition of color and shape.  

Fantin was a master at painting white, building up dabs of impasto to emphasize certain points of the composition, highlighting the tip of a petal for example, creating depth, making brilliant contrasts, or even as the dominating hue of an entire picture.  His interest in texture is shown particularly by the contrast between the hard and brittle quality of his Chinese vases, blue and white Porcelain bowls and crystals, and dictate softness and wax-like fragility of the flowers.  

Above all, Fantin managed to capture their ephemeral fleeting beauty and the translucent colors of their petals.  Many have commented on the musical qualities of Fantin's flowers color and tone,  particularly in the interplay of pale creamy colors.  The above painting was done with a palette knife by Sanchia Lin at the oil painting workshop with Mr. Lee Kim.   Mr. Lee Kim is a graduate of UCLA, and worked as an industrial and technical artist.  Presently he teaches at El Camino College and Palos Verdes  Art Center.