Vietnam or Thailand ? Vote for the TOP Country of the Week !
All of which is true; yet Paul Gauguin was a painter who had something new to say, and he said it in a very personal fashion. I once attended at Paris an exhibition devoted to the work of the late Count Toulouse-Lautrec. There the perverse genius of an unhappy man who owes allegiance to no one but Degas and the Japanese was seen at its best.
They paint their environment the only true historic method and they do this with a modern technique. Manet, Goya, Renoir, Monet, Pissarro, Toulouse-Lautrec, Degas, Whistler, and others may be noted in the technical schemes of nine out of ten native-born American artists. The question at issue is whether our new men have anything to say, and do they say it in a personal manner.
Henri de Toulouse-Lautrec, who died recently, insane, leaves a great work behind him. He had a kind of cruel genius. Descended from one of the greatest families of France, badly treated by nature who made him a kind of ailing dwarf, he seemed to take a bitter pleasure in the study of modern vice. He painted scenes at café-concerts and the rooms of wantons with intense truth.
Raffaelli went there and so did Renoir; but the former was impartially impressionistic; the latter, ever ravished by a stray shaft of sunshine flecking the faces of the dancers, set it all down in charming tints. Not so Toulouse-Lautrec. Combined with a chronic pessimism, he exhibited a divination of character that, if he had lived and worked hard, might have placed him not far below Degas.
He, too, like Breughel, is fond of trussing up a human as if he were a pig and then sticking him with a big knife. Every form of torture from boiling oil to retelling a stale anecdote is shown. The elder Teniers, Hieronymus Bosch, Breughel, Goya, and among later artists, Rops, Toulouse-Lautrec, and Aubrey Beardsley, are apparent everywhere in Kubin's work. Neither is Rembrandt missing.
"We have the honour to be, monsieur, your humble and obedient servants, "COMTE DE TOULOUSE-LAUTREC The Protestants, as we have said, hailed the golden dawn of the revolution with delight; then came the Terror, which struck at all without distinction of creed. A hundred and thirty-eight heads fell on the scaffold, condemned by the revolutionary tribunal of the Gard.
It would be fit to put aside Toulouse-Lautrec, who was much younger, but his work is too directly connected with that of Degas for one to take into account the difference of age. He produced between 1887 and 1900 works which might well have been ante-dated by fifteen years.
His habits had never been those of a prudent citizen, and as his earning powers grew less some imp of the perverse entered his all too solitary life. With this change of habits came a change of theme. Henceforth he drew filles, the outcasts, the scamps and convicts and the poor wretches of the night. He is now a forerunner of Toulouse-Lautrec and an entire school.
And the artist's new invention, his new experiment, came as surely as the spring now the original wood block and now the colour print, one year the draughtsman's Holbein-inspired portrait and another the poster that excited us into collecting Chéret and Toulouse-Lautrec at a feverish rate and facing afterwards, as best we could, the problem of what in the world to do with a collection that nothing smaller than a railroad station or the hoardings could accommodate.
Unexcelled as a painter of horses, as a delineator of witching horsemanship, of vivid landscapes true integral decorations and of the casual movements and gestures of common folk, Degas is also a psychologist, an ironical commentator on the pettiness and ugliness of daily life, of its unheroic aspects, its comical snobberies and shocking hypocrisies; and all expressed without a melodramatic elevation of the voice, without the false sentimentalism of Zola or the morbidities of Toulouse-Lautrec.
Word Of The Day