Word: monetization
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Died. Ambroise ("Fifi") Vollard, 72, famed, bearded, hulking French art dealer, who specialized in boosting the Impressionist painters (Monet, Renoir, Degas, Cezanne); in an automobile crash near Versailles. Shrewd, bold in his judgments, when Cezanne died Vollard hastened to Aix, cornered the contents of the painter's studio, made a fortune...
...found plenty to look at and plenty to like in the museum's galleries. Most of the 106 items of painting and sculpture were by good contemporaries, though two of the best were Millet's Woman with a Rake, lent by the Metropolitan Museum of Art, and Monet's Les Déchargeurs de Carbon. The artists ranged from such ununionized souls as Academician Jonas Lie and Merrymaker Doris Lee to Proletarians Joe Jones and Mervin Jules. The subject matter of Labor was conceived generously enough to admit a painting of industrial buildings by Classicist Charles Sheeler...
...composers, he created a musical language of his own, painted tone-pictures of impressions from nature, conceived a whole new palette of instrumental and harmonic colors. Critics, fond of loose similes, called him a symbolist like Poets Mallarme and Verlaine; others called him an impressionist like Painters Renoir and Monet. The latter title stuck. His work-fastidious, poetic, voluptuous and all but perfection in technique-had an immense influence on the composers of the early nineteen hundreds. Besides a picture of an incurable Bohemian, Biographer Thompson offers a systematic critical study of all of his compositions, from the slightest piano...
Professor Koehler selects the slides for each lecture, but often he is interrupted by the appearance of an inverted Parthenon or a painting heralded as a Monet which turns out to be a Rembrandt. In one of the last lectures before Reading Period one of the two prejectors was out of commission, and the class was consequently disorganized and its value lost...
...great French Impressionists, his family and his firm have not had to worry since. Because it will always buy back any picture it sells, the firm can go to its storerooms in either Paris or New York and at a moment's notice produce an exhibition of Renoir, Monet, Degas or the rest, to knock out the public's eye. At long intervals the partners remember their duty to living art, introduce a new talent. They seldom take much of a chance. Any painter sponsored by cautious Durand-Ruel is apt to have enduring ability, and their patronage...