Word: renoirs
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...show of the year. Arranged by a long list of socialite sponsors for the benefit of the public Education Association of New York, it was correctly entitled "Great Portraits from Impressionism to Modernism." In the lofty, skylit galleries of Wildenstein & Co. visitors saw 48 selected masterpieces by Cezanne, Manet, Renoir, Gauguin, van Gogh, Toulouse-Lautrec, Degas, Marie Laurencin, Matisse, Derain, Pascin, Picasso, Modigliani. Visitors who regarded any of these reputations as unfounded were quickly disabused...
...does not follow a strict chronological narrative in Portraits of a Lifetime, but skips through time & space as his memory prompts him. The result is a little disconcerting to readers who do not know his previous volumes. At one moment the artist may be telling some antique anecdote about Renoir which drifts imperceptibly into comment about the political situation in present-day France, of which he strongly disapproves...
...only in an oil-and-tempera panel of a prancing, black Percheron stallion painted at the Wisconsin stock show a year ago. A landscape View of Madison painted last spring had an unaccustomed air of old-fashioned dewiness. A still life, Spring Flowers, had an even stranger touch of Renoir. For action subjects the artist had apparently confined himself to football games in Wisconsin's Camp Randall stadium producing a series of sketches and one big canvas, Goal Line Play, which looked like a monument to a lost opportunity...
...sharp-eyed scout for Leicester Galleries wandered into the Galeries Zak in Paris and saw six pictures by a young German girl, just purchased by Mme Zak. Painted in monotones of grey, tan and pink, in a style heavily reminiscent of Marie Laurencin and spiced with Degas and Renoir, were pictures in a musicomedy adaptation of 1900 costumes: drinking at cafes, riding on merry-go-rounds, many another simplified scene. Almost immediately the artist, 26-year-old, blonde Suzanne Eisendieck, became a ward of the Leicester Galleries, and a story straight out of La Vie de Boheme turned toward...
...other romantic 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...