Word: manet
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Dates: during 1990-1999
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...like Bonnard (the nudes in bedrooms) or Toulouse-Lautrec (the music-hall scenes). But one needs to remember that Sickert was slightly older than most of these painters. He was born in 1860; they hardly influenced him at all. The men who did were pre- rather than Postimpressionist: Whistler, Manet and, above all, Degas. Sickert had worked for Whistler as a studio assistant in the early 1880s, and Whistler gave him a letter of introduction to Degas. A strong friendship grew up between...
Bellows studied at the New York School of Art under Robert Henri, the American realist disciple of Frans Hals and Edouard Manet. "My life begins at this point," he said of his apprenticeship to Henri. He soon developed a tough, pragmatic repertoire based on realist drawing and tonal composition. He was by far the most gifted younger member of the Ashcan School, a loose group that included John Sloan, George Luks and William Glackens. Not one of them ever painted an ash can, but they did believe, in a general way, that the artist should work from life...
Their gods were Manet, Daumier, Goya and Hals; among Americans, Homer and Eakins. None were more direct than Bellows, who in the peak years of his youth became the entranced recorder of New York, the "real" city of tough mudlarking kids, of crowded tenements and teeming icy streets, of big bridges and sudden breaks in the wall of buildings that revealed tugboats and a dragging tide...
...some 170 paintings, prints and drawings by Henri de Toulouse-Lautrec, after an earlier run at London's Hayward Gallery, rounds off the great series of overviews of 19th century French artists given us by French, American and English museums over the past 15 years. Every one of these -- Manet, Courbet, Cezanne, Seurat, Monet, even the disappointing Renoir -- has altered the way one thinks about the achievements of French art and deeply revised one's view of the individual painters. The Toulouse-Lautrec show, curated by an English art historian, Richard Thomson, and two French ones, Claire Freches-Thory...
...March 18, 1990, two thieves disguised as policemen entered Boston's Isabella Stewart Gardner Museum, trussed up two guards and made off with a king's ransom: three Rembrandts, five paintings by Degas, one Manet and one of only 36 known Vermeers in existence. The Vermeer canvas was hacked from its stretcher, leaving chips of paint on the floor. At an estimated total value of $200 million, it may have been the most lucrative art theft in history...