Word: vuillards
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...Edouard Vuillard was, in his own words, an armchair painter. In search of subject matter, he rarely ventured beyond the Montmartre apartment he shared with his mother, and then only to the homes of his few close friends. The apartment also served as his mother's dressmaking shop; it was constantly alive with seamstresses and customers exchanging confidences about fittings, and cluttered with bolts of satins and silks, ribbons and pattern snippings. In this homely setting, Vuillard, who derisively referred to himself as "the in-timist," fashioned vignettes of quiet domesticity that suggest a less radiant...
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...
DEGAS for these and other reasons was very fruitful and influential for the younger generation, among whom were Lautrec, Vuillard, Bonnard, and other post-impressionists. Indeed, there are those who will contend that Lautrec built solidly and indispensably on every aspect of Degas' production. Far more exciting, I feel, is the way in which his own indefatigable efforts lightened the historical burden for the next great inheritor, Henri Matisse, and facilitated the transition into the twentieth century. This was my personal discovery in the show, the piece of puzzle that so happily fell into place for me. Just as Degas...
...when it goes on the block next month. Another newly discovered Rubens, an oil sketch for his Samson and Delilah, will join it for an estimated $140,000. Henry Ford II will take profits on Christie's block in December by selling off four works by Matisse, Signac, Vuillard and Picasso for upwards...