Word: portraits
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Works from five museums worldwide are combined with one portrait in the Fogg’s Wertheim collection to shed some light on an aspect of Toulouse Lautrec’s repertoire that until recently has been overlooked. Previously, his more conventional, intimate portraits were considered “student works, illustrations of popular song, or demonstrations of social issues in nineteenth-century Paris,” Sarah Kianovsky, assistant curator of Painting, Sculpture and Decorative Arts at the Fogg, writes in the show’s essay. By contrast, this exhibition seeks to allow the viewer to see Toulouse...
...experiences painting Jeanne Wenz, Toulouse Lautrec wrote, “I’m doing the portrait of a beautiful sister of one of my friends, which is a lot of fun.” Both “A la Bastille” (1888) and “Portrait of Jeanne Wenz (La Femme au Noed Rose)” (1886) feature a self-assured, dignified subject. Whether momentarily seated at a table—ready to spring up and mill about—or formally seated for a traditional profile painting, Toulouse Lautrec’s barmaid subject...
buck is a frank and serious attempt to bring to the forefront issues which should be engaged in a theatrical setting. It is unfortunate that the piece is ultimately blemished by the irony that, in this portrait of the Jim Crow South, while the lack of female perspective is suggested as problematic, the play’s structure does not provide an adequate forum for such a perspective to be communicated...
Bergstein’s oil paintings dominate the exhibit, divided into two major thematic thrusts, both of which explore the notion and expand the definition of a self-portrait. One is a series of monochromatic studies that draw heavily on Pieter Bruegel the Elder’s “The Tower of Babel” paintings. In Bergstein’s “Mount II,” a decaying round structure emerges out of a charred and flat landscape. Fractured rising levels are energized by thin lines that betray the motion of a building buffeted by wind...
When Bergstein moves away from his studies in the second thematic section of this exhibit, he displays a lighter—if still self-reflexive—sensibility. Here Bergstein proffers up a series of unconventional self-portraits. Where traditionally a self-portrait concerns itself with external representations—and the artist’s internal state is then inferred from the image—here Bergstein directly represents the core of his being by covering an illustration of himself with a collage of images meaningful to him. As we would expect from...