Word: bonnards
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Dates: during 1950-1959
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...Wall Street Banker and Investment Counselor Georges Lurcy was going to be a major event in the art world. The catalogue, under the terms of Lurcy's will, was printed in two handsome, hardbound volumes, sold for $7.50. On hand to compete for 65 choice paintings ranging from Bonnard to Vuillard. and other treasures, Was a select list that included top U.S., British and European dealers plus no less than 250 U.S. millionaire art collectors. The results at Manhattan's Parke-Bernet Galleries last week staggered even old-hand auctioneers. The first night, bids for paintings rolled...
Along with Picasso, Gris, Bonnard and the others who form a pantheon of figures in France's most prolific age of painting, the directors of the Modern Museum have sent us a sampling of canvasses by younger painters of more recent vintage...
...would have been impossible to apply the accolade master to these fifty-five painters and sculptors without drawing wholesale fire from all sides. The day is not long past when on the one hand Picasso and Matisse were charged with anarchy or incompetence or when, on the other, Bonnard was denounced as a "decadent impressionist" or Chagall as a "reactionary from cubism." More than half the artists exhibited are now deceased and almost all are very much the product of environments no longer to be found anywhere on the globe. In more ways than one these twentieth century works...
...Blocks' opulent, near-northside apartment, hung with the works of Picasso, Matisse, Bonnard, Vuillard, Degas, Van Gogh and Manet, the new portrait of the lady of the house last week had the place of honor. Albright's Mary Block (see cut) sits in a phosphorescent glow by a cluttered table with a clock turned away from her (because she was a clock watcher at sittings, and, Albright quips, "it makes the painting timeless"), grim, bejeweled, glaring back at her beholders, a macabre vision tinted with a pale green note of decay...
Compared with the smallest of the Braques, Afro's immense canvases seem slight. They do reflect facility, sensitivity and a highly personal approach, but somehow their content never quite justifies their expansive delivery. On the other hand, each modest Bonnard still-life, like Vuillard's little Woman in Green, voices far more substance in truly elegant chords of brilliant color...