Beginning with the early Toulouse Lautrec paintings, Toulouse's fascination with horses endured throughout his career, as seen in his 1899 work, At the Circus : The Spanish Walk. The work was one among a group of colored chalk drawings made from memory while recovering at a sanatorium.
In one of the Toulouse Lautrec paintings, known as The Streetwalker, Toulouse used oil thinned with turpentine on cardboard. This rendered visible his loose, sketchy brushwork. The transposition of this creature of the night to the bright light of day signalled Toulouse's fascination with sordid and dissolute subjects.
Divan Japonais was among the Toulouse Lautrec paintings featuring Toulouse's favourite cafe concert stars Yvette Guilbert and Jane Avril. Yvette was known as a diseuse or speaker for the way she half-sung, half spoke her songs during performances. She had bright red hair, thin lips, a tall gaunt physique and wore black elbow-length gloves.
Gustave Courbet paintings were done in an emphatically realistic style, particularly in reference to a group of artwork that included The Stonebreakers and A Burial at Omans. The unvarnished realism of Gustave's imagery was dismissed and derided by critics for the ugliness of his figures they described as peasants in their Sunday best.
One of Gustave Courbet paintings on monumental canvas, The Painter's Studio : A Real Allegory Summing Up a Seven Year Phase of my Artistic Life, was rejected by the Exposition Universelle jury in 1855. As a retaliation, Gustave mounted his own exhibition of more than forty works in his Pavilion of Realism, built within sight of the official venue.
Leaving the Omans subjects and embracing modernity was the description for Gustave Courbet paintings during the 1850s. In 1866, Gustave submitted Woman with a Parrot to the Paris Salon, as a painting of a nude that its conservative jury could accept. Gustave's nudes was unmistakably modern as opposed to the idealized nudes by Academic artists. For this, he was lauded by his supporters for painting the real, living French woman.
In one of the Toulouse Lautrec paintings, known as The Streetwalker, Toulouse used oil thinned with turpentine on cardboard. This rendered visible his loose, sketchy brushwork. The transposition of this creature of the night to the bright light of day signalled Toulouse's fascination with sordid and dissolute subjects.
Divan Japonais was among the Toulouse Lautrec paintings featuring Toulouse's favourite cafe concert stars Yvette Guilbert and Jane Avril. Yvette was known as a diseuse or speaker for the way she half-sung, half spoke her songs during performances. She had bright red hair, thin lips, a tall gaunt physique and wore black elbow-length gloves.
Gustave Courbet paintings were done in an emphatically realistic style, particularly in reference to a group of artwork that included The Stonebreakers and A Burial at Omans. The unvarnished realism of Gustave's imagery was dismissed and derided by critics for the ugliness of his figures they described as peasants in their Sunday best.
One of Gustave Courbet paintings on monumental canvas, The Painter's Studio : A Real Allegory Summing Up a Seven Year Phase of my Artistic Life, was rejected by the Exposition Universelle jury in 1855. As a retaliation, Gustave mounted his own exhibition of more than forty works in his Pavilion of Realism, built within sight of the official venue.
Leaving the Omans subjects and embracing modernity was the description for Gustave Courbet paintings during the 1850s. In 1866, Gustave submitted Woman with a Parrot to the Paris Salon, as a painting of a nude that its conservative jury could accept. Gustave's nudes was unmistakably modern as opposed to the idealized nudes by Academic artists. For this, he was lauded by his supporters for painting the real, living French woman.
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