Word: lautrecs
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...John Hay Whitneys' pictures, which top the show, are magnificent examples of such modern French greats as Renoir, Gauguin, Toulouse-Lautrec, Seurat, Rousseau, Cézanne, Picasso, Matisse. "Jock" Whitney, 47, has an eye for painting to equal his eye for horseflesh and business investments, and his vast fortune amply accommodates his tastes. The Whitneys have a full-time curator, Art Historian John Rewald, to help with their collection, but Whitney decides on all purchases himself. "We've bought what struck us as being particularly beautiful," he says...
Rumpled Beds. For his teacher's fashionable Chelsea haunts, young Sickert substituted a series of battered studio digs in north and central London. There he sketched and painted scenes of British low life with a gusto and an eye for beauty in squalor that rivaled Degas and Lautrec. Like Lautrec, he doted on the dramatic lighting and rowdy shenanigans of turn-of-the-century music halls. He also liked to paint outdoors...
Henri de Toulouse-Lautrec was a bitter, boisterous, grotesquely misshapen mite of a man. He spent the best of his 37 years pattering up & down the steep streets of Montmartre, tippling in its gayest bistros and teetering on the edge of artistic fame. Half a century ago, liquor laid him by the heels. Last week, some of the work he managed between benders was on exhibition at two Paris galleries; a fictional biography of him, Moulin Rouge, was on U.S. bestseller lists; and the Baltimore Museum of Art had just staged a comprehensive show of his posters. Keeping step with...
Much of Toulouse-Lautrec's popularity stems from his frothy subject matter. He pictured a devil-may-care world of generous bosoms and high kicks, a world that is gone but kindly remembered. The man was a genius besides. His line had all the energy of a high kick, his wit surpassed his exuberance, his knowledge of the human figure equaled his delight in it, and his touch was light as lace. He designed as well as the Japanese woodcut artists whom he most admired, and for their warm-milk sentimentality he substituted an absinthe bite...
...draftsman, Pascin employed the sfumato (blurring of lines) dear to Da Vinci. His models were not so much outlined as enmeshed in delicate, shifting parentheses. Being no great shakes as a colorist, he avoided strong hues, tinted his figures with light dabs of pearly paint. No other artist, except Lautrec, ever mixed sweetness and sordidness more successfully. What kept Pascin out of Lautrec's league was that he had no bite; his paintings were pale and flaccid as the man himself...