Word: latour
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Dates: during 1980-1989
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...narrative" of the galleries is split in half. On the left is the realist tradition of the 19th century, with its impulse to social description, radical criticism and meditation on things as they are -- Daumier, Millet, the Barbizon painters, Fantin-Latour, the rural sentimentalists like Jules Breton, culminating in Courbet at his mightiest (The Studio, The Funeral at Ornans and a portrait of a trout that has more death in it than Rubens could get in a whole Crucifixion). On the right are academic idealism and romanticism, Ingres and his heirs, Delacroix and his, smooth recipes of Grecian flesh...
Although the staff viewed the mismanagement of the diaries affair as a reason to claim greater control of the magazine's content, the Stern management installed a more conservative and prudent editor, Peter Scholl-Latour, a former television commentator. Says he: "We have readers who are not as far left as is sometimes thought. I do not want to bore them with too much ideology." Scholl-Latour describes the antimissile movement as "a fashionable tendency," and his view is having an impact. Though the magazine continues to report on the movement enthusiastically, an Aug. 4 cover showed a hand...
...deflect the discontent, Nannen named two outsiders, Business Journalist Johannes Gross and Television Executive Peter Scholl-Latour, as co-publishers and editors in chief. The magazine's management also returned $200,000 that had been paid by Rupert Murdoch's News Corp. for British and Commonwealth publication rights. The placatory efforts backfired. In a statement, some 200 editorial employees labeled the episode "a severe blow against 35 years of Stern credibility." About 100 staffers staged a sit-in at Stern's offices to protest the hiring of Gross and Scholl-Latour because their jobs would merge business...
...magisterial Homage to Thomas Eakins exemplifies the boldness, not to say the rashness, with which Soyer has reached into the past for forms that have faded away after a century or more of desuetude. His picture is modeled after Hommage à Delacroix by Henri Fantin-Latour, who in 1864 lined up seven artists, including Manet and Whistler, and three writers, including Baudelaire, who had been Delacroix's admirers. Fantin-Latour then judiciously posed them beside a portrait of the great French Romantic painter. The composition is as simple as the relationships. Soyer, on the other hand, chose a much...
...Daumier. Moreover, there is no way of drawing a hard-and-fast line between the realist enterprise and that of the impressionists. Although artists like Degas and Manet are represented, and although there are some exquisite paintings by figures on the edge of the impressionist group-like Henri Fantin-Latour, whose portrait of his two sisters embroidering and reading is one of the most affecting icons of intimacy in all 19th century art-one wishes the connections between the two had been made somewhat more explicit, even at the risk of covering familiar ground again...