Word: corots
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Dates: during 1950-1959
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...woollier pals influence his painting, kept strictly to gentle landscapes, still lifes, and romantic nudes. Once, Poet Guillaume Apollinaire, an ardent advocate of cubism, urged him to join the movement. "Our modern age, the age of aviation," he argued, "should find its reflection in our paintings." Segonzac politely declined: "Corot lived in the age of the locomotive, but he peopled his landscapes with nymphs, not with steam engines...
...them, said Malskat, set up a regular production line for phony masters. Working steadily, even after they were commissioned to restore St. Mary's frescoes in 1948, they copied such masters as Degas, Corot, Gauguin, Renoir, Rousseau, Chagall, Munch, Utrillo. Malskat did all of the work; sometimes he copied famous old paintings, sometimes just imitated the style of old masters. He could do one in a day, got so good at the French impressionists that they took less than an hour. Fey forged the signature to paintings, said Malskat, then went out to peddle the fakes to German...
...18th century Jean Fragonard, Berthe took up drawing at 16 merely as a social grace. Mama Morisot traipsed along on visits to her instructor's studio, to keep a watchful eye on the proceedings. Berthe was clumsy at first, but within three years she was studying with Corot, learning to paint landscapes in his fashion...
Then, when she was 27, Berthe was introduced to a rising young artist named Edouard Manet, and the meeting colored her whole life. She became more serious about art, wrote Manet long, involved letters on what she had learned from Corot, persuaded him to leave his dim studio to paint bright countrysides and farms. In Paris, she often posed for the young painter, developed a womanly jealousy when he sometimes used another model. Berthe never admitted anything more than friendship for Manet; he was a married man. But she stayed close by, eventually married his brother Eugene...
Stuempfig shuns modern experiments, keeps a reproduction of a Corot in his studio, and constantly combs his own neighborhood for moving, nostalgic subjects. Asked why his landscapes so often look sad, he replies: "Maybe it's because even the landscape isn't safe any more, what with these new turnpikes and everything...