Word: vuillards
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...Italian spe cialita della casa-art theft. In the hours before dawn, thieves had broken in through a window and spirited off about $2.3 million worth of paintings left to the museum in 1956 by Sicilian Industrialist Carlo Grassi. The haul included a Cezanne, a Bonnard, a Renoir, a Vuillard, a Van Gogh, a Gauguin, a Millet and a brace of Corots. The thieves, said Director Mercedes Garberi, "displayed a very refined taste." Giovanni Spadolini, Italy's Minister of the Cultural Patrimony, was already in shock from the theft of two Piero della Francescas and a Raphael from Urbino...
...print shows. "Contemporaries of Degas," being shown in conjunction with the Museum's highly publicized Degas exhibit, displays lithographs, etchings and a few oil paintings by artists who explored the same subject matter as Degas or who were greatly influenced by the "reluctant impressionist." Prints by Toulous-Lautrec, Signac, Vuillard and Daumier are organized around the themes of women, nightlife, the circus--subjects which have rarely if ever been treated with as much insight and relish as in the works of these artists. "Paris Observed" is a brief but memorable introduction to mid-18th-century Paris and Parisians as seen...
...academic standards of its time, the figure of Annette on the Beach at Villerville (1910) is a botch-drawn as though made of string and plasticine, the skirt rendered in weird and only semilegible notations of white paint. Yet Vuillard caught with tender and ironic precision the way that people actually stand when they are not observed-along with the scoured blue of the Atlantic sky and the distant, promenading couples. It is like an amateur snapshot. Vuillard was, in fact, one of the first artists to use a Kodak systematically. It was his habit to set up his camera...
Something Personal. There was a lot of impressionism in Vuillard, for he enjoyed what the older painters liked: the panoply of color in a new-minted atmosphere. But pattern was the core of his work, most dramatically in the 1890s, when he produced a run of paintings, including some remarkable self-portrait studies, that anticipated the later Matisse in their schematization of form. But he remained stubbornly unaffiliated; even within the Symbolist group he was somewhat an outsider to the letter of their theory since, among other points of difference, he thought Gauguin's pictures "pedantic." Vuillard never allowed...
...from the broadly patterned interiors, still lifes and self-portraits of the early '90s, with their jewel color, through the series of big decorative murals that he painted on commission. "Decorative" was no insult to Vuillard. He thought decoration one of the higher functions of art, and he was right. Even in the stubbornly worked-out compositions of his later years, Vuillard described microcosms we can still enter-hospitable and mischievous, articulate in every detail, a long triumph of sensuous integration...