DOCSLIB.ORG

Berichtplus Datenblatt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Berichtplus Datenblatt Mediendokumentation Toulouse-Lautrec und die Photographie Werkliste 28.08. – 13.12.2015 Liste des œuvres exposées List of exhibited works Werkliste Liste des œuvres exposées List of exhibited works Raum 1 Toulouse-Lautrecs Photographenfreunde Raum 2 Lautrecs Familie und ihre feudalen Wohnsitze Raum 3 Lautrecs Ausbildung in Paris Raum 4 Lautrec als Verkleidungskünstler Raum 5 Lautrecs Atelier und seine Lieblingsmodelle Raum 6 Vorhang auf im Theater Raum 7 Der illustre Kreis um die schöne Misia Raum 8 Das »Sporting Life« des Fin de siècle Raum 9 Die Schleiertänzerin Loïe Fuller Raum 10 Die neue Boxkamera und die Schnappschussästhetik Raum 11 Neue Erscheinungsformen der Druckgraphik Raum 12 Das Nachtleben in den Amüsierlokalen des Montmartre Raum 13 Manege frei für die Artisten 1/29 Mediendokumentation Toulouse-Lautrec und die Photographie Werkliste 28.08. – 13.12.2015 Liste des œuvres exposées List of exhibited works Raum 1 Henri de Toulouse-Lautrec Plakat für den Photographen Sescau, 1896 Studiokamera der Firma Engel- Feitknecht & Cie, Biel, auf gussei- Affiche pour le photographe Sescau sernem Stativ, um 1895 Caméra Farblithographie in Pinsel, Kreide d'atelier de la maison Engel- und Spritztechnik Feitknecht & Cie, Bienne, sur un Lithographie au pinceau, craie et trépied en fer de fonte crachis Hermance, Fondation Auer Ory Henri de Toulouse-Lautrec pour la photographie Porträt von François Gauzi, 1886 Portrait de François Gauzi François Gauzi Öl auf Leinwand Selbstbildnis, um 1897-1898 Huile sur toile Autoportrait Zürich, Stiftung Sammlung E. G. Originalabzug (Ausstellungskopie) Epreuve d’époque Bührle (copie d’exposition) Paris, Musée d’Orsay François Gauzi und / oder Henri de Toulouse-Lautrec Maurice Guibert Gauzi in Halbfigur, um 1886 Lautrec an der Staffelei, 1894 Gauzi en demi-figure Originalabzug auf Salzpapier Lautrec au chevalet Epreuve d’époque sur papier salé Originalabzug (Ausstellungskopie) Privatsammlung Epreuve d’époque (copie d’exposition) François Gauzi und / oder Privatsammlung Henri de Toulouse-Lautrec Maurice Guibert Gauzi in Lautrecs Atelier, 1886– Lautrec schlafend, 1898 1887 Lautrec dormant Gauzi dans l’atelier de Lautrec Aus dem Album / de l’album »33 Originalabzug auf Salzpapier photographies de la famille de (Ausstellungskopie) Toulouse-Lautrec« Epreuve d’époque sur papier salé (copie d’exposition) Originalabzug auf Albuminpapier Privatsammlung (Ausstellungskopie) Epreuve d’époque sur papier albu- Henri de Toulouse-Lautrec miné (copie d’exposition) Paul Sescau, 1891 Collection Georges Beaute Öl und Gouache auf Karton Paul Sescau Huile et gouache sur carton Porträt von Toulouse-Lautrec, New York, Brooklyn Museum um 1892 Museum Surplus Fund Portrait de Toulouse-Lautrec and purchased with funds given by Originalabzug auf Albuminpapier, Dikran G. Kelekian auf Karton aufgezogen Henri de Toulouse-Lautrec Epreuve d’époque sur papier albu- Wandelgang, 1899 miné, marouflé sur carton Promenoir Privatsammlung / Collection parti- Kreidelithographie culière Lithographie à la craie Albi, Musée Toulouse-Lautrec 2/29 Mediendokumentation Toulouse-Lautrec und die Photographie Werkliste 28.08. – 13.12.2015 Liste des œuvres exposées List of exhibited works Paul Sescau Maurice Guibert Toulouse-Lautrec im Profil, Ich, Maurice Guibert, um 1890 um 1894 Moi, Maurice Guibert Toulouse-Lautrec en profil Aus dem Album / dans l’album »Ma Neuabzug von einem Glasnegativ vie photographique: portraits, (Ausstellungskopie) demeures et voyages, entre 1886– Nouvelle épreuve à partir d’un 1895« négatif sur verre Originalabzug (Ausstellungskopie) (copie d’expsition) Epreuve d’époque (copie Albi, Musée Toulouse-Lautrec d’exposition) Paris, Bibliothèque nationale de Henri de Toulouse-Lautrec France Menü Sescau: Die Fischsuppe, 1895 Unbekannter Photograph Menu Sescau: La Bouillabaisse Das Haus an der Place Pigalle 9, in Lithographie in Pinsel und Kreide dessen erstem Stockwerk Sescau Lithographie au pinceau et craie sein Photostudio hatte (heute zer- Bern, Sammlung E.W.K. stört) La maison au 9, place Pigalle, où Paul Sescau Sescau avait son studio au premier Selbstporträt in Phantasiekostüm étage (aujourd’hui détruit) mit Banjo, um 1890 Postkarte (Ausstellungskopie) Autoportrait en costume de phan- Carte postale (copie d’exposition) tasie avec banjo Privatsammlung / Collection parti- Neuabzug (Ausstellungskopie) culière Nouvelle épreuve (copie d’exposition) Henri de Toulouse-Lautrec Paris, Bibliothèque nationale de Karikatur von Paul Sescau, 1895 France Charge de Paul Sescau Bleistift auf Papier Paul Sescau Crayon sur papier Selbstporträt als Türke, Mandoline Albi, Musée Toulouse-Lautrec spielend, um 1890 Autoportrait déguisé en turque, Henri de Toulouse-Lautrec jouant la mandoline Karikatur von Maurice Guibert, Neuabzug (Ausstellungskopie) 1896 Nouvelle épreuve (copie Charge de Maurice Guibert d’exposition) Bleistift auf Papier Paris, Bibliothèque nationale de Crayon sur papier France Albi, Musée Toulouse-Lautrec Maurice Guibert Emile Cohl Der Salon und der Garten der Villa Karikatur von Toulouse-Lautrec, Guibert in Paris 1898 Le salon et le jardin de la villa Charge de Toulouse-Lautrec Guibert à Paris, um 1890 Chromotypographie Aus dem Album / dans l’album »Ma Erschienen in / paru dans »Les vie photographique: portraits, Hommes d’aujourd’hui« demeures et voyages, entre 1886– Albi, Collection Gimbergues 1895« Originalabzüge (Ausstellungskopien) Epreuves d’époque (copies d’exposition) Paris, Bibliothèque nationale de France 3/29 Paul Sescau Henri de Toulouse-Lautrec Toulouse-Lautrec stehend mit Spa- Nizza: Erinnerung an die Prome- zierstock, um 1894 nade des Anglais, 1880 Toulouse-Lautrec en pied tenant sa Nice: souvenir de la promenade canne des Anglais Neuabzug von einem Glasnegativ Öl auf Leinwand (Ausstellungskopie) Huile sur toile Nouvelle épreuve à partir d’un Paris, Petit Palais négatif sur verre (copie d’exposition) Maurice Guibert Albi, Musée Toulouse-Lautrec Lautrec mit seiner Mutter im Gar- ten des Schlosses Malromé, 1892 Henri de Toulouse-Lautrec Lautrec avec sa mère dans le jar- La Tige und Maurice Guibert im din du château de Malromé »Moulin Rouge«, 1894 Originalabzug (Ausstellungskopie) La Tige et Maurice Guibert au Epreuve d’époque (copie »Moulin Rouge« d’exposition) Lithographie in Kreide Paris, Bibliothèque nationale de Lithographie à la craie France Kunsthaus Zürich, Grafische Sammlung Maurice Guibert Blick auf Albi mit der Kathedrale Maurice Guibert Sainte-Cécile und dem Palais de la Guiberts Halbbruder Paul und Berbie, heute Musée Toulouse- Lautrec im Garten der Villa Gui- Lautrec, 1894 bert, um 1897 Vue d’Albi avec la cathédrale Paul, le demi-frère de Guibert, et Sainte-Cécile et le palais de la Lautrec dans le jardin de la Villa Berbie, aujourd’hui musée Tou- Guibert louse-Lautrec Neuabzug von einer Glasplatte Aus dem Album / dans l’album »Ma (Ausstellungskopie) vie photographique: portraits, Nouvelle épreuve à partir d‘un demeures et voyages, entre 1886– négatif sur verre (copie 1895« d’exposition) Originalabzüge (Ausstellungsko- Albi, Musée Toulouse-Lautrec pien) Epreuves d’époque (copies François Gauzi d’exposition) Lautrec mon ami Paris, Bibliothèque nationale de Paris, Bibliothèque des Arts, 1992 France Kunstmuseum Bern und Sammlung R.K. Henri de Toulouse-Lautrec Skizzenblatt mit Pferd und einem François Gauzi Porträt von Raoul Tapié de Céley- Le Nébuleux ran, um 1881 Toulouse, Edouard Privat, 1930 Croquis avec cheval et portrait de Raoul Tapié de Céleyran Raum 2 Bleistift auf Papier Crayon sur papier Henri de Toulouse-Lautrec Privatsammlung Die Gräfin Adèle de Toulouse- Lautrec im Garten, 1882 Henri de Toulouse-Lautrec La Comtesse Adèle de Toulouse- Skizzenblatt mit Pferden, um 1881 Lautrec au jardin Croquis de chevaux Öl auf Leinwand Bleistift auf Papier Crayon sur papier Huile sur toile Privatsammlung Albi, Musée Toulouse-Lautrec 4/29 Mediendokumentation Toulouse-Lautrec und die Photographie Werkliste 28.08. – 13.12.2015 Liste des œuvres exposées List of exhibited works Henri de Toulouse-Lautrec Prompt et Genet Skizzenblatt mit Kühen in Graf Alphonse de Toulouse-Lautrec Céleyran, um 1881 mit seinen Falken in Albi, um 1877 Croquis avec vaches à Céleyran Comte Alphonse de Toulouse- Bleistift auf Papier Lautrec avec ses faucons à Albi Crayon sur papier Originalabzüge auf Albuminpapier, Privatsammlung auf einen Karton aufgezogen Epreuve d’époque sur papier albu- Atelier Nadar miné, marouflé sur un carton Lautrecs Mutter, die Gräfin Adèle Privatsammlung / Collection parti- de Toulouse-Lautrec, um 1863 culière La mère de Lautrec, la Comtesse Adèle de Toulouse-Lautrec Marie Tapié de Céleyran Originalabzug auf Albuminpapier, Lautrec im Kreis seiner Familie im auf Karton aufgezogen (Ausstel- Château du Bosc. In der Mitte die lungskopie) beiden Grossmütter, dahinter die Epreuve d’époque sur papier albu- Mutter, links Lautrec, 1896 miné, marouflé sur carton (copie Lautrec avec sa famille au château d’exposition) du Bosc. Au millieu les deux Privatsammlung / Collection parti- grandes-mères, derrière celles-ci, culière à gauche Lautrec lui-même Aus dem Album / de l’album »33 H. Prompt photographies de la famille de Lautrecs Vater, der Graf Alphonse Toulouse-Lautrec« de Toulouse-Lautrec, um 1863 Originalabzug auf Silbergelatinepa- Le père de Lautrec, le Comte Al- pier (Ausstellungskopie) phonse de Toulouse-Lautrec Epreuve d’époque sur papier géla- Originalabzug auf Albuminpapier, tino-argentique (copie auf Karton aufgezogen (Ausstel- d’exposition) lungskopie) Collection Georges Beaute Epreuve d’époque sur papier albu-
Load more

Recommended publications
  • The Library of Professor Eric G. Carlson
    The Library of Professor Eric G. Carlson Part II: Rare Illustrated Books and Print Portfolios, ca. 1850-1930 405 titles, in ca. 585 physical volumes The Library of Professor Eric G. Carlson Part I: Art of France from the French Revolution to the End of the Third Republic, 1790-1940. General Reference Works and Monographs on Artists, with a special emphasis on prints and printmaking The art historian and art dealer Eric G. Carlson (1940-2016) was a noted specialist in French and American prints and drawings of the nineteenth and early twentieth centuries. A mediaevalist by training (Ph.D. Yale University), and professor at the State University of New York at Purchase from 1978 to 2006, Carlson brought a scholar's acumen to his exploration of lesser-known fields and figures of French art. His library reflects this, being exceptionally rich not just on the major artists of the era, but on the many painters and printmakers who remain to this day little known to the general public. Its coverage of the art of Romanticism, Realism, and Post-Impressionism, with very impressive concentrations on Géricault, Delacroix, Courbet, Degas and Gauguin, among others, is matched by a fascinating depth in the Symbolist and Nabi movements and the School of Pont-Aven, and the myriad Academic and Salon artists, illustrators and caricaturists who flourished between the start of the Second Empire and the end of the Third Republic. The library is unusually complete and sophisticated in the documentation and critical study of all aspects of the period, with rare exhibition and auction catalogues, and scarce early monographs, as well as the latest academic scholarship.
    [Show full text]
  • Toulouse-Lautrec and Anti-Semitism in Fin-De-Siècle Paris
    Toulouse-Lautrec and anti-Semitism in fin-de-siècle Paris Essay by Louis Dzialo In 1892, a salacious dime-novel hit the shelves in Paris. Victor Joze’s Reine de joie, moeurs du demi-monde (Queen of Joy, The World of Easy Virtue) tells the story of Alice Lamy, an enterprising Parisian courtesan, and her depraved relationship with a fictitious Jewish financier, Baron de Rozenfeld. Toulouse-Lautrec’s poster that advertised the novel depicts the novel’s moment of high-comedy. Prior to this scene, Baron de Rozenfeld has struck a deal to engage in an illicit relationship with Alice for a tremendous sum of money, plus a fully furnished townhouse in the fashionable Bois du Boulogne. Upon realizing what the Baron has offered her “[Alice] rises suddenly, embraces the Baron with her bare arms, and as her lips slide towards the old man’s mouth, she encounters an obstacle in the form of his large hooked Semitic nose and there she plants her kiss.”1 Though Toulouse-Lautrec’s poster advertising Reine de Joie (Figure 1) remains true to elements of this scene, it is not without the artist’s own creative embellishments. Joze describes Rozenfeld as “an aging Semitic type…an impassive figure of a man who knows his power.”2 Toulouse-Lautrec alters the Baron, depicting a “a short, overweight, sunken figure of a man who indulges in what money can buy and whose own passive body language does not suggest a consciousness of his own power.”3 His Baron is a grotesque blob of a man, his sordid character reiterated in Lautrec’s (ambiguous) suggestion that he gropes Alice’s breast with his right hand.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Picturing France
    Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson.
    [Show full text]
  • The Chester Dale Collection January 31, 2010 - January 2, 2012
    Updated Monday, May 2, 2011 | 1:38:44 PM Last updated Monday, May 2, 2011 Updated Monday, May 2, 2011 | 1:38:44 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 From Impressionism to Modernism: The Chester Dale Collection January 31, 2010 - January 2, 2012 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. File Name: 3063-001.jpg Title Title Section Raw File Name: 3063-001.jpg Henri Matisse Henri Matisse The Plumed Hat, 1919 Display Order The Plumed Hat, 1919 oil on canvas oil on canvas Overall: 47.7 x 38.1 cm (18 3/4 x 15 in.) Title Assembly The Plumed Hat Overall: 47.7 x 38.1 cm (18 3/4 x 15 in.) framed: 65.9 x 58.1 x 5.7 cm (25 15/16 x 22 7/8 x 2 1/4 in.) Title Prefix framed: 65.9 x 58.1 x 5.7 cm (25 15/16 x 22 7/8 x 2 1/4 in.) Chester Dale Collection Chester Dale
    [Show full text]
  • Toulouse-Lautrec Amid a Whirlwind of Activity
    THE TM 911 Franklin Street Weekly Newspaper Michigan City, IN 46360 Volume 21, Number 30 Thursday, August 4, 2005 Toulouse-Lautrec Amid A Whirlwind Of Activity by Barbara Stodola What a good time the Art Institute of Chicago has arranged for its summer visitors! Toulouse-Lautrec and Montmartre is the perfect combination for the interactive, interdisciplinary events that audiences have come to love, and the curators/ educators/ pro- moters have outdone themselves in exploring the spin-offs that offer a memorable experience for everyone. Henri de Toulouse-Lautrec, who needs no introduc- tion, epitomizes the naughty-but-nice spirit of Montmartre in the 1890s. Even today the Lautrec mood languishes over the back streets of Paris, sur- viving a century of change in moral climate. The dance-hall hussies he portrayed, displaying their long black stockings and lace bloomers to gentlemen on the prowl, have now become suit- able for family viewing pleasure in Chicago. The life story of Toulouse-Lautrec has been popular- ized by Hollywood, and so he lingers in the public imagina- tion as a tragic fig- ure, crippled, A fashionably attired Henri de Toulouse-Lautrec is shown in dwarfish, alcoholic, this 1892 photograph (Musee Toulouse Lautrec.) born into aristocra- The artist suffered from a congenital bone deformity, which resulted in broken legs and stunted growth. cy but preferring He stood 4 feet 11 inches. the company of prostitutes and cir- cus entertainers -- an immensely gift- ed and prolific artist, dead at the Lautrec’s first advertising poster (1891) made him an age of 36. overnight sensation.
    [Show full text]
  • The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B
    THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THE EX~lPLE OF JEAN COCTEAU THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THEEXM1PLE OF JEAN COCTEAU by JOYCE ANNE FUNAMOTO, B. A., B. ED. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University June 1981 I~~STER OF ARTS (1981) McMASTER UNIVERSITY ( Roman ce Languages) Hamilton, Ontario. TITLE: The Search for New Expression in the Theatre: The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B. A. (MCMaster University) B. Ed. (University of Toronto) SUPEHVISOR: Dr. B. S, Pocknell NUMBER OF PAGES: iv, 117 SCOPE AND CONTENTS: The purpose of this paper is to examine the theatre of Jean Cocteau in its search for new expression. The first chapter presents Jean Cocteau's precursors and their parallels with his theatre, and his early fOlJmation in the theatre. The second chapter deals with his contemp- oraries in the areas of dance, music and art. Chapter three treats the plays of Jean Cocteau in the light of their sources and innovations. ii ACKNOWLEDGEMENTS My sincere thanks goes to Dr. B. S. Pocknell, whose patience, encouragement and enthusiasm will continue to provide inspiration. I would also like to express my debt to Professor N. Jeeves for his careful reading and guidance. iii TABLE OF CONTENTS Page LIST OF PHOTOGRAPHS 1 INTRODU CTION 2 CHAPTER I - COCTEAU'S PRECURSORS AND HIS EARLY 5 FORMATION IN THE THEATRE CHAPTER II - COCTEAU AND HIS CONTEMPORARIES 33 CHAPTER III - THE DEVELOPMENT OF JEAN COCTEAU'S 59 THEATRE CONCLUSION 98 APPENDIX A 103 APPENDIX B 105 APPENDIX C 107 APPENDIX D 109 APPENDIX E· III BIBLIOGRAPHY 113 iv LIST OF PHOTOGRAPHS Photo 1 - Le Dicu Bleu.
    [Show full text]
  • Prints from the Age of Rodin Wall Labels
    Fairfield University DigitalCommons@Fairfield Prints from the Age of Rodin - Ephemera Prints from the Age of Rodin Fall 2019 Prints from the Age of Rodin Wall Labels Fairfield University Art Museum Follow this and additional works at: https://digitalcommons.fairfield.edu/rodin-prints-ephemera This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Angelo Jank (French, active 19th century) Woman with a Parrot from the portfolio L’Estampe Moderne, 1898 Color lithograph Gift of James Reed (2017.35.823) This lithograph was one of four that appeared in the volume of L’Estampe Moderne in the case below. Pierre Bonnard (French, 1867-1947) The Loge, 1898 Color lithograph Gift from the Dr. I. J. and Sarah Markens Art Collection (2018.34.26) Bonnard’s lithograph, which takes up the same subject of spectators at the opera as Lunois’ print above, appeared as the frontispiece to Mellerio’s book. Edward J. Steichen (American, 1879-1964) Portrait of Rodin with The Thinker and The Monument to Victor Hugo, 1902 Gelatin silver print Jundt Art Museum, Gonzaga University; Gift of Iris and B.
    [Show full text]
  • Picasso Versus Rusiñol
    Picasso versus Rusiñol The essential asset of the Museu Picasso in Barcelona is its collection, most of which was donated to the people of Barcelona by the artist himself and those closest to him. This is the museum’s reason for existing and the legacy that we must promote and make accessible to the public. The exhibition Picasso versus Rusiñol is a further excellent example of the museum’s established way of working to reveal new sources and references in Picasso’s oeuvre. At the same time, the exhibition offers a special added value in the profound and rigorous research that this project means for the Barcelona collection. The exhibition sheds a wholly new light on the relationship between Picasso and Rusiñol, through, among other resources, a wealth of small drawings from the museum’s collection that provide fundamental insight into the visual and iconographic dialogues between the work of the two artists. The creation of new perspectives on the collection is one of the keys to sustaining the Museu Picasso in Barcelona as a living institution that continues to arouse the interest of its visitors. Jordi Hereu Mayor of Barcelona 330 The project Picasso versus Rusiñol takes a fresh look at the relationship between these two artists. This is the exhibition’s principal merit: a new approach, with a broad range of input, to a theme that has been the subject of much study and about which so much has already been written. Based on rigorous research over a period of more than two years, this exhibition reviews in depth Picasso’s relationship — first admiring and later surpassing him — with the leading figure in Barcelona’s art scene in the early twentieth century, namely Santiago Rusiñol.
    [Show full text]
  • Toulouse-Lautrec and the Stars of Paris
    TOULOUSE-LAUTREC AND THE STARS OF PARIS TOULOUSE-LAUTREC and the StarS of PariS | 1 | TOULOUSE-LAUTREC and the StarS of PariS HELEN BURNHAM with contributions by MARY WEAVER CHAPIN and JOANNA WENDEL MFA Publications | Museum of Fine Arts, Boston | 2 | | 3 | Contents directors’ foreword | 6 foreword Mary Weaver Chapin | 9 spectacular and subtle: the art of toulouse-lautrec Helen Burnham | 13 Yvette Guilbert | 23 Jane avril | 39 aristide bruant | 53 Marcelle lender | 65 MaY belfort | 77 loïe fuller | 89 notes | 99 list of illustrations | 103 further reading | 108 acknowledgments | 111 | 4 | toulouse-lautrec and the stars of paris Foreword MARY WEAVER CHAPIN henri de toulouse-lautrec was the right performers of all varieties could be seen in artist at the right time. The time was fin-de- shop windows, purchased by fans, and viewed siècle Paris, a moment when a vast array in three dimensions through stereoscopes. of entertainment options was springing up Collectors created albums focusing on particu- around the city, performers were attracting lar stars or private portfolios of erotic poses increasing attention and fame, and the color by cancan dancers and circus performers, poster and lithograph were reaching new bringing the public performer into the private artistic and commercial heights. The artist was domestic world. The development of large- Henri-Marie-Raymond de Toulouse-Lautrec- scale color lithography was another milestone; Montfa, the descendant of an old and distin- by the 1880s, bright posters dominated the guished aristocratic family from the south of streets of Paris, advertising everything from France. Blessed with a quick and witty graphic the most elevated opera to gritty cabarets talent, a keen understanding of performance, artistiques.
    [Show full text]
  • French Cancans - Une Collection Privée
    TOULOUSE-LAUTREC A LA BELLE EPOQUE French Cancans - Une collection privée - Dossier de presse FONDATION PIERRE GIANADDA MARTIGNY – SUISSE Du 1er décembre 2017 au 10 juin 2018 Tous les jours de 10h à 18h Commissariat : Daniel Marchesseau, conservateur général honoraire du Patrimoine avec la collaboration de Gilles Genty, historien de l’art Contact presse : Catherine Dantan, tel + 33 6 86 79 78 42 – [email protected] http://www.gianadda.ch/ Il y a trente ans, en 1987, la Fondation Pierre Gianadda présentait l’exposition Toulouse- Lautrec au Musée d’Albi et dans les collections suisses. L’exposition actuelle, Toulouse-Lautrec à la Belle Epoque, French Cancans - une collection privée - en est un prolongement très heureux qui permet de découvrir une sélection neuve d’œuvres graphiques exposée à titre exceptionnel en Europe. La Fondation Pierre Gianadda, entrée dans sa quarantième année d’existence, devrait bientôt franchir le cap des dix millions de visiteurs, soit un quart de million de visiteurs par an, chaque année, pendant quarante ans. Un tel succès, c’est avant tout à des amis fidèles depuis la première heure, comme cette collection privée que nous le devons et je leur en suis infiniment reconnaissant. Que nos visiteurs soient heureux de découvrir ce monde joyeux, frivole, celui de la Belle Epoque. Léonard Gianadda Membre de l’Institut Président de la Fondation Pierre Gianadda 2 La Fondation Pierre Gianadda a le privilège de pouvoir exposer pour la première fois en Europe, une collection privée européenne exceptionnelle qui compte en particulier plus d'une centaine d'affiches et d'estampes choisies parmi les feuilles les plus spectaculaires d'Henri de Toulouse-Lautrec (1864-1901).
    [Show full text]
  • Toulouse Lautrec Print Collection Gift of Mrs. John
    IfflE MUSEUM OF MODERN ART '* IPW YORK 79 11 WEST 53rd STREET fS/1 VV lwl\l\ 17 fEtEPHONE: CIRCLE 5-8900 CABIES: MODERNART, NEW-YORK CARAH NEWMEYER, PUBLICITY DIRECTOR NOVeftber 9, 1946 TO Art Editor City Editor Dear Sir: You are Invited to come or send a representative to Press Preview of Recent Acquisitions 61 lithographs by Toulouse-Lautrec 31 illustrations by Picasso for "Hlstoire naturelle" by Corate de Buffon Tuesday, November 19 2 to 6 P.M. at the Museum of Modern Art 11 West 53 Street For further information please telephone me at Circle 5-8900* Sincerely yours, Sarah Newraeyer B Publicity Director PLEASE NOTE THAT THE EXHIBITION OF THESE RECENT ACQUI­ SITIONS HAS BEEN POSTPONED ONE WEEK: FROM WEDNESDAY, NOVEMBER 13 AS ORIGINALLY ANNOUNCED TO WEDNESDAY, NOVEM­ BER 20, THE PRESS PREVIEW IS, OF COURSE, THE PRECEDING DAY, TUESDAY, NOVEMBER 19, AS ABOVE STATED. 461118 - 55 THE MUSEUM OF MODERN ART t WEST 53RD STREET, NEW YORK 19, N. Y. ^PHONE: CIRCLE 5-8900 P0R IMMEDIATE RELEASE MHb. JOHN D, ROCKEFELLER, JR. GIFT OF TOULOUSE-LAUTREC PRINT COLLECTION EXHIBITED BY MUSEUM OF MODERN ART Tlie most important accession to its Print Collection in recent years has been given the Museum of Modern Art by Mrs, John D. Rockefeller, Jr. It consists of a group of 61 lithographs by Henri de Toulouse-Lautrec and constitutes probably the third largest col­ lection of prints by that artist owned by any American museum, Mrs. Rockefeller has also given the Print Collection one of the greatest illustrated books of modern times, the Hlstolre naturelle by the Corate do Buffon, with 31 aquatints by Pablo Picasso.
    [Show full text]