Word: steinlen
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Dates: during 1980-1989
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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...