Tag: Toulouse-Lautrec

The Paris of Toulouse-Lautrec: Prints and Posters – New York – New York

Henri de Toulouse-Lautrec (French, 1864–1901). Aristide Bruant dans son cabaret (Aristide Bruant in His Cabaret). 1893. Lithograph, sheet: 53 9/16 x 37 15/16 in. (136 x 96.3 cm) The Museum of Modern Art, New York. Gift of Emilio Sanchez, 1961

Henri de Toulouse-Lautrec (French, 1864–1901). Aristide Bruant dans son cabaret (Aristide Bruant in His Cabaret). 1893. Lithograph, sheet: 53 9/16 x 37 15/16 in. (136 x 96.3 cm) The Museum of Modern Art, New York. Gift of Emilio Sanchez, 1961


From Jul 26 2014 to Mar 22, 2015 – The Museum of Modern Art, New York

A preeminent artist of belle époque Paris, Henri de Toulouse-Lautrec (1864–1901) brought the language of the late-19th-century avant-garde to a broad public through his famous posters, prints, and illustrations for journals and magazines. A cultural nexus, he connected artists, performers, authors, intellectuals, and society figures of his day, creating a bridge between the brothels and society salons of the moment. His work allows entry into many facets of Parisian life, from politics to visual culture and the rise of popular entertainment in the form of cabarets and café-concerts.

Henri de Toulouse-Lautrec (French, 1864–1901). Jane Avril. 1899. Lithograph, sheet: 22 1/16 x 15 in. (56 x 38.1 cm) The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller, 1946

Henri de Toulouse-Lautrec (French, 1864–1901). Jane Avril. 1899. Lithograph, sheet: 22 1/16 x 15 in. (56 x 38.1 cm) The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller, 1946


T
his exhibition, drawn almost exclusively from The Museum of Modern Art’s stellar collection of posters, lithographs, printed ephemera, and illustrated books, is the first MoMA exhibition in 30 years dedicated solely to Lautrec, and features over 100 examples of the best-known works created during the apex of his career.

Museum of Modern Art – MoMa


Becoming Van Gogh – Denver – Colorado

Vincent van Gogh (Dutch, 1853-1890). Self-portrait with Straw Hat, 1887. Oil on cardboard. 40.8 x 32.7 cm (16 1/16 x 12 7/8 in.). © Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Until January 20, 2013 – Denver Art Museum
An in-depth exploration of Vincent van Gogh’s unconventional path to becoming one of the world’s most recognizable artists, Becoming Van Gogh examines critical steps in his artistic evolution through more than 70 paintings and drawings by Van Gogh, along with works by artists to whom he responded such as Henri de Toulouse-Lautrec and Camille Pissarro. Becoming Van Gogh brings together loans from more than 60 public and private collections throughout Europe and North America to tell the story of a number of key formative periods throughout the artist’s career.

Denver Art Museum


Misia, Queen of Paris – Paris – France

Pierre Bonnard (1867-1947) Misia at the piano1902 - Oil on canvas - H. 46,2 ; L. 39 cm - San Francisco, Collection of Ann & Gordon Getty© ADAGP, Paris 2012


Until September 9th 2012 – Musee d’Orsay

Misia Godebska (1872-1950) was a legendary figure of the French art scene from the Belle Époque to the Roaring Twenties. At first she became known for her talent as a pianist. Her marriage in 1893 to Thadée Natanson, the editor of the journal La Revue blanche, propelled her to the centre of a group of creative artists who were champions of Symbolism and the decorative arts.

Félix Vallotton Misia at Her Dressing Table© RMN (Musée d'Orsay) / Hervé Lewandowski


At
the height of her influence, she became one of the most sought-after portrait models of her time, sitting for Bonnard, Vuillard, Vallotton, Toulouse-Lautrec and Renoir. She was a friend of Diaghilev, Nijinsky, Stravinsky, Cocteau and Chanel, and financed the Ballets Russes for over ten years.

Henri de Toulouse-Lautrec (1864-1901) Poster for La Revue Blanche 1895 Colour lithograph, brushwork, pencil and crachis - H. 128 ; W. 92 cm - Paris, Bibliothèque Nationale de France© Bibliothèque Nationale de France, Paris


Th
is multidisciplinary exhibition brings together portraits of Misia and her entourage, works, documents and accounts by contemporary artists that illustrate the prolific creative activity at the time Misia was the Queen of Paris.

Musee d’Orsay


The Steins Collect – Matisse, Picasso, and the Parisian Avant-Garde – New York – NY

Henri Matisse (French, 1869–1954). Woman with a Hat, 1905. Oil on canvas; 31 3/4 x 23 1/2 in. San Francisco Museum of Modern Art, Bequest of Elise S. Haas. © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York


February 28–June 3, 2012 – The Metropolitan Museum of Art

Gertrude Stein, her brothers Leo and Michael, and Michael’s wife Sarah were important patrons of modern art in Paris during the first decades of the twentieth century. This exhibition unites some two hundred works of art to demonstrate the significant impact the Steins’ patronage had on the artists of their day and the way in which the family disseminated a new standard of taste for modern art. The Steins’ Saturday evening salons introduced a generation of visitors to recent developments in art, particularly the work of their close friends Henri Matisse and Pablo Picasso, long before it was on view in museums.

Beginning with the art that Leo Stein collected when he arrived in Paris in 1903—including paintings and prints by Paul Cézanne, Edgar Degas, Paul Gauguin, Henri de Toulouse-Lautrec, Édouard Manet, and Auguste Renoir—the exhibition traces the evolution of the Steins’ taste and examines the close relationships formed between individual members of the family and their artist friends. While focusing on works by Matisse and Picasso, the exhibition also includes paintings, sculpture, and works on paper by Pierre Bonnard, Maurice Denis, Juan Gris, Marie Laurencin, Jacques Lipchitz, Henri Manguin, André Masson, Elie Nadelman, Francis Picabia, and others.

Museum Hours


Impressionism, Drawings, Watercolours and Pastels – Vienna – Austria

Edgar Degas - Woman in a Tub, c. 1883 - Pastell auf Papier - Tate: Bequeathed by Mrs. A.F. Kessler 1983 © Tate, London 2011


From February 10, 2012 to  May 13, 2012 – Albertina

Masterworks on Paper is the first exhibition devoted exclusively to the significance of drawing to the Impressionist and Post-Impressionist avant-garde movements—and to the development of modern art.
The Albertina, Vienna, Austria  – The exhibition will present up to 200 drawings, watercolours and pastels by the Impressionists and Post-Impressionists. Active in France during the second half of the nineteenth century and closely associated with avant-garde movements, artists such as Manet, Degas, Renoir, Pissarro, Seurat, Gauguin, Cézanne, Van Gogh and Toulouse-Lautrec created works on paper that may be less well known than their paintings but which are just as significant. This is the first international exhibition devoted exclusively to drawings by these artists and will considerably extend knowledge of Impressionism and Post-Impressionism.

The starting point for Impressionism on Paper is the fact that a large proportion (40%) of all the items shown in the eight Impressionist exhibitions held in Paris between 1874 and 1886 were works on paper. Many of these can be identified and are included on the selection list. To this core will be added numerous other examples by these artists and others that will provide an overview of their drawing skills at this critical stage in the development of a widely appreciated moment in the development of French art.

The aim is to demonstrate the different types of drawing pursued by the Impressionists and Post-Impressionists and to demonstrate the various purposes to which their works on paper were put.

Claude Monet Waterloo Bridge, London, 1901 Pastel Collection Triton Fondation, The Netherlands


D
rawing is not an activity with which the Impressionists and Post-Impressionists have so far been closely associated. The exhibition, however, will illustrate unequivocally and for the first time that for these artists drawing was a primary function and not a secondary activity.   Although drawings were used as part of the preparatory process towards a painting, more and more they came to be regarded by the Impressionists and Post-Impressionists as finished works of art in their own right. Many of the pastels by Degas, the watercolours by Cézanne, the pen and ink drawings by Van Gogh or the works in mixed media by Toulouse-Lautrec were made on a large scale specifically for exhibition.

Impressionism on Paper, therefore, will show that far from ignoring the art of drawing the Impressionists and Post-Impressionists chose to emphasize its primacy thereby ceasing to uphold or even recognize the traditional distinction between drawing and painting. Instead, they elevated the status of drawing to the level of painting itself regarding both practices as part of a single aesthetic.

Pierre-August Renoir - Nude Bathers Playing with a Crab, c. 1897-1900 - Pastell auf Papier - Sammlung Jean Bonna, Genf


T
he result was that the traditional hierarchy separating painting from drawing established during the Renaissance ceased with the Impressionists and Post-Impressionists. This, in turn, had considerable consequences for the development of modern art in so far as the fusion of line and colour resulting from a series of multiple gestural acts, which characterizes the best examples of Impressionist and Post-Impressionist drawings, paved the way for such artists as Jackson Pollock, Willem de Kooning, Cy Twombly and Bridget Riley.

Museum Hours


Portraits of the Belle Epoque – Barcelona – Spain

"La mujer de rosa" - Giovanni Boldini - 1916 - Museo Giovanni Boldini (Ferrara)


From 20 July to 9 October 2011 –  Caixa Forum Barcelona

The Belle Epoque? Those mind-blowing years before the cataclysm of World War One. People danced, drank, dressed sumptuously, raced in Bugattis, went to the seaside … What we all remember from those years is the birth of Cubism, with Picasso and Braque or the first steps of Futurism, under the baton of Marinetti, and even Surrealism. Actually, overshadowed by these movements there were others that were highly more appreciated, such as la society painting. The role of the artists shown at Caixa Forum was similar to the one played by today by magazines such as Gala, Gente, Ola, OK or Hello! They give an ideal, appetizing, distinguished image of stars and royalty. The choice shown was made starting with the best interpreters: from Sorolla to Toulouse-Lautrec, from Steinlen to Sargent and Serov, we drift among some of the best interpreters of portraits in the XXth century.

Caixa Forum Hours


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