Word: lautrecs
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Dates: during 1950-1959
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...this summer." For those readers who prefer deeds to words, a rather partial inventory of the collections shows: 12 water-colors and drawings by Cezanne, and oils by the following: Gauguin (1), Monet (3), Picasso (3), Modigliani (2), Renoir (4), Van Gogh (3), Degas (2), Rousseau (1) and Toulouse-Lautrec...
Elsewhere in Gallery XVII is a wall of three Soutines, a Modigliani and an unusual Toulouse-Lautrec. Of the Soutines, the Gorge du Loup is least noteworthy: I find most Soutine landscapes pretty dreary matters and this essay in murky tones and crude distortions is no exception to the rule. Neither, more or less, is his rather unflattering-to-one Self Portrait. There is more of an attempt to show structural and coloristic harmony, but the colors tend to get rather high in range and the structure collapses in places. The last Soutine is an excellent Portrait of a Lady...
...Toulouse-Lautrec, finally, is amazing. Its title, Messaline, suggests its romantic aspect, and a far cry indeed from the realism of the Moulin Rouge is its rather Redonesque treatment of lighting, color and brush-work. Its monumental figures (note the left foreground personage or Messaline herself) and themes are straight out of the Golden Age, giving Lautrec a new dignity as a creator of significant content which I, for one, would never have thought possible...
...focal point, are used to great effect. A magnificent Renoir Bagneuse is next, with blended brushwork, brilliant light and shimmering color creating a rich canvas. Other notable works in this gallery are a first rate Cezanne still-life, an excellent Degas (ballet dancers), a good Gauguin, a fine Lautrec and two good Monets--one of these latter being a rendering of the familiar Gare St. Lazare...
...Nouveau is just beginning its vogue. New York's Musum of Modern Art plans an enormous exhibit of the school this summer and similar shows elsewhere will surely follow. Aside from the pleasant but confusing inclusion of Munch and Lautrec, the Busch-Reisinger's well-chosen exhibit gives one a full picture of the Art Nouveau--its frequent failures as well as its undeniable successes...