Word: roussel
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Dates: during 1960-1969
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This summer, marking the centenary of Vuillard's birth, Paris' Musée de L'Orangerie has mounted a retrospective of his works (see color opposite), which are displayed along with those of his brother-in-law and lifelong friend, Ker-Xavier Roussel. Both were contributors to the mighty explosion that was impressionism, but their visual worlds were quite different. Vuillard was essentially a realist, a chronicler of bourgeois life. Roussel, with his nymphs and gods, was a dreamer, trying to transplant classical Greece into the French landscape...
Subtle Materials. Vuillard was the greater artist, but it was his schoolboy friendship with Roussel that steered him to painting. When Roussel enrolled with an art teacher, Vuillard decided that he also wanted to be a painter, and succeeded in enrolling at the Ecole des Beaux-Arts. Unhappy with its rigid academicism, he transferred to the somewhat freer atmosphere of the Academic Julian, where he met Bonnard, Maurice Denis and Vallotton. Calling themselves the Nabis (Hebrew for prophets), they formed a group to perpetuate Gauguin's theories on painting, Mallarme's on poetry. "To name an object...
RAVEL: DAPHNIS AND CHLOË, SUITE NO. 2, and ROUSSEL: BACCHUS AND ARIADNE, SUITE NO. 2 (RCA Victor). For his first recording with the Chicago Symphony Orchestra, new Conductor Jean Martinon chose flashy and familiar works-two Dionysian ballets by fellow Frenchmen. Orchestra and conductor show up well, from the airy pianissimos that signal the break of day in the Ravel to the wildly pounding bacchanalia that climax the Roussel...
...ROUSSEL: THE SPIDER'S FEAST (Angel). For this ballet pantomime, inspired by the observations of French Entomologist Jean Henri Fabre, Roussel's impressionistic music transports the ants and the beetles into an enchanted cobwebbed garden. Andre Cluytens and the Paris Conservatory Orchestra touch other milestones of the composer's career by playing his later ballet music, Bacchus et Ariane, and the Sinfonietta for Strings, a miniature symphony in his mature classical style...
...right tension with each other but also possessed lives of their own. Whether turning out monuments or figures a few inches high, he could produce any mood he chose. In his 21 studies of Beethoven, he distorted and exaggerated to reveal violence, sadness or ecstasy. In his Madame Roussel with Hat, the mood is elegantly casual, and few sculptures possess such an air of sweet repose as his Sculptress Resting, which is also a portrait of his wife...