Word: steinlen
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There were other influences too: Daumier for the dense, impacted drawing, a touch of caricaturists like Théophile Steinlen for the faces, and symbolist poetry for the emblematic moodiness of some of the scenes. Some of the most powerful aspects of Hopper's work came from outside the history of painting itself: from theater, whose devices of staging and lighting Hopper constantly invoked. Hopper's rooms and landscapes have a constant air of expectancy. When empty, they seem to have been just vacated by actors; when they are peopled, the figures are posed and lit as though...
...point is not that Picasso, as an art student in Barcelona and, after the autumn of 1900, a young artist in Paris, was markedly better at imitating Steinlen or Toulouse-Lautrec than other Spanish artists were, but that he could run through the influences so quickly, with such nimble digestion. What he needed, he kept. He had no use for the tendril-like, decorative line of Spanish art nouveau, for instance, but he retained its liking for large, silhouetted masses, and they, grafted onto the pervasive influence of Toulouse-Lautrec, keep appearing in his Parisian cabaret scenes of 1901. Some...
Inflated Blues. Picasso's immature work has benefited greatly from hindsight and feedback. The slides flick, the familiar images succeed one another-the young painter chewing his way through Toulouse-Lautrec, Manet, Gauguin, Munch, Steinlen and a host of other influences that crowded upon him in Barcelona and, after 1900, in Paris. There is no consolidated style in Picasso's career until, aged 21, he starts moving into the Blue and Pink periods...
...show is made up largely of drawings from the sixteenth century on and includes fine examples attributed to Stradanus, Bercham, and Millais. His gallery also features prints and drawings by artists who have been over-looked by both history and inflation; drawings by late nineteenth century artists like Steinlen and Toorop are extremely interesting and very reasonably priced...
...poster art would not have made art history if it had not been for a rebellious group of impressionist painters who wanted to get more light and air into their work and to reach a larger public. With painters such as Manet, Bonnard, Villon, Toulouse-Lautrec, Steinlen and Forain doing the ad-cum-art work, the posters rapidly became collectors' items and more valuable than the products advertised...