Word: renoirs
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Dates: during 1960-1969
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...Louis' City Art Museum,* the painter's first since a memorial show assembled shortly after his death in 1938. At that time Glackens seemed out of fashion, with his tranquil ladies, summer-resort scenes and cityscapes thronged with meandering crowds. Today, his obvious borrowing from Renoir's palette seems less important than the pleasures of his sinuous brush stroke, sauciness of color, and the pure joyousness of his subjects. Although Glackens borrowed the impressionists' glasses, he saw the American scene with eyes that were first trained in the reporter's craft...
...traveling abroad in 1912 as the agent for Philadelphia Millionaire Dr. Albert C. Barnes, inventor of the bland antiseptic Argyrol, Glackens became more impressed by the vigor of contemporary French painting, helped Barnes acquire at bargain prices high-toned paintings by Van Gogh, Cezanne, Degas, Gauguin, Matisse and Renoir...
...Girl on Main Street. Glackens was the gentlest of these American impressionists. "Psychologically," Barnes said later, "Glackens is more akin to Renoir than any painter of our age." The painter's world was not the cafes of Paris but the more innocent one of the soda fountains of the U.S. He avoided the hurdy-gurdy of boxing matches, bathing beaches and laundry slung from slum fire stairs. Yet it is Glackens' reportorial honesty that lends to his lush vision of realism of America on the eve of world involvement...
...While Renoir painted great peasant nudes who loom like earth goddesses, Glackens painted the girl-next-door on Main Street or in Greenwich Village. And if Glackens' peachy women have downcast eyes, it is not from sadness but wistfulness for a world that would never be the same. They seem ready to hope more than to rejoice, like closeted daughters waiting to make a debut and sport their beauty-which both they, and American art, were about to do, in fewer years than even the most optimistic imagined...
Threat to Morals. Manet's scruffy friends were none other than the novelist Zola, the poets Baudelaire and Mallarme, the painters Monet, Degas and Renoir. He owed them all a debt, but most of all he trusted his own vision. "One must be of one's time," he said, "do what one sees without worrying about the fashion." Mallarme stated their common goal succinctly: "To paint not the thing, but the effect it produces...