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Enumerati principalele caracteristici ale acestui curent artistic sub forma unor comentarii la aceasta postare.

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Comentati:
Ce tip de compozitie elaboreaza Degas?
🤬 este structurat spatiul?

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Fișier:Degas- La classe de danse 1874.jpg - Wikipedia

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Apăsați pe Data și ora pentru a vedea versiunea trimisă atunci. Următoarele pagini conțin această imagine: Următoarele alte proiecte wiki folosesc acest fișier: Utilizare la fr.wikipedia.org Utilizare la it.wikipedia.org Utilizare la ja.wikipedia.org Vizualizați utilizările globale ale acestui fișier.

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Analizati:
-este conturat contrastul valoric? Priviti lumina si umbra cu atentie.

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Cunoscut de unii drept tatăl impresionismului, Claude Monet a fost un pictor francez prolific de la mijlocul anilor 1800 până la începutul anilor 1900. Lucrările sale au încă prețuri impresionante la Christie's și Sotheby's, la aproape o sută de ani de la trecerea sa și cu un motiv întemeiat.

A fost unul dintre primii câțiva artiști care a ieșit din stilul extrem de rafinat al neoclasicismului, confruntându-se cu critici și respingeri nesfârșite pentru incursiunea sa într-un stil mai expresionist. Cu toate acestea, el a persistat să surprindă scurte scurgeri de peisaje și mișcări, atât luminoase, cât și umbrite; impresii ale lumii din jur, lucrate în vopsea. Pictând în serii, el a reușit să afișeze modul în care lumina afectează un singur subiect și modul în care aceasta descria trecerea timpului.

Stăpânirea lui Monet a culorilor și a luminii continuă să-i fascineze pe spectatori astăzi, opera sa extinsă de lucrări fiind o dovadă a minunatei frumuseți a lumii vizibile.

Istorie

Oscar-Claude Monet s-a născut la 18 noiembrie 1840 la Paris. Tatăl său, Adolphe Claude Monet, era un om de afaceri, iar mama sa, Louise Aubreé, fusese cântăreață înainte de căsătorie. Crescând, Monet a iubit arta - o pasiune care a fost alimentată cel mai probabil de mama sa artistică, care fusese ea însăși un artist competent în diferite domenii.

Monet a primit primele lecții formale de artă prin Jacques-François Ouchard, care a fost profesor la școala sa și, de asemenea, fost student al celebrului artist neoclasic Jacques-Louis David. De acolo, tânărul și întreprinzătorul Monet a continuat să creeze caricaturi de cărbune ale profesorilor și colegilor săi, pe care apoi le-a vândut cu câte zece până la douăzeci de franci la un magazin local. A intrat în ciocniri frecvente cu tatăl său pentru arta sa - acesta din urmă dorea ca el să se concentreze mai mult pe clasele sale și să se alăture afacerii de familie, în timp ce Monet nu avea prea mult interes în comerțul cu nave și să fie băcănie.

În timp ce persista în vânzarea desenelor sale, lucrările de artă au atras atenția lui Eugene Boudin. Boudin a fost un pionier în noua artă de a picta în aer liber de atunci și a simțit că tânărul Monet a dat multe promisiuni. Cei doi s-au împrietenit. El l-a învățat pe Monet cum să folosească vopselele de ulei pentru a surprinde peisajele așa cum apar, mai degrabă decât să lucreze ore plictisitoare din diverse schițe și amintiri pe peisaje minutios rafinate, așa cum era obiceiul. În această perioadă, Monet a început să ia în considerare în primul rând utilizarea luminii în picturile sale, inspirată de frumosul joc al soarelui din lucrările maritime ale lui Boudin.

Cu toate acestea, a avut loc o tragedie. Mama lui Monet a murit la anul după ce a început să lucreze la peisajele sale. Încă în dezacord major cu tatăl său cu privire la viitorul său, Monet s-a mutat să locuiască cu mătușa sa, Marie-Jeanne Lecadre. Mătușa sa a susținut cariera sa artistică, spre deosebire de tatăl său, și a putut să-l sponsorizeze într-un curs avansat de artă la Paris. Monet s-a împrietenit cu mai mulți artiști care vor deveni nume binecunoscute în timpul petrecut în curs, precum Alfred Sisley și Pierre-Auguste Renoir.

În cei douăzeci de ani, Monet și-a întâlnit viitoarea soție Camille Doncieaux, care a fost modelul unui tablou la care a lucrat împreună cu prietenul său Frédéric Bazille. Ea a devenit muza sa și a apărut în multe dintre picturile sale, cum ar fi Femeia în rochie verde.

El a trimis mai multe picturi la Academia de Arte Frumoase pentru expozițiile lor la Salonul de la Paris în acest timp, în speranța de a-și întreține noua familie (Camille a născut primul lor fiu în 1867), dar conservatorul Académie nu a apreciat viziunea sa . Ei au considerat că picturile sale sunt amatoare și nerafinate. Confruntându-se cu nenumărate respingeri și sărăcie prelungită, Monet a încercat să se sinucidă în 1868. Din fericire, a supraviețuit încercării și a trăit pentru a-și vedea norocul.

În 1874, obosit în cele din urmă de limitele impuse de Academie, a devenit parte a unui grup de artiști care a ținut propria expoziție cu lucrările lor de avangardă. La această expoziție a prezentat o lucrare intitulată „Impresie, răsărit" - o lucrare care își va da numele viitorilor impresioniști.

Expoziția nu a fost inițial bine primită de critici. Au numit lucrările acestor tineri artiști neterminate, nepolite. Peria texturată a fost considerată neglijentă, în timp ce aplicarea vopselei ca noroiul a fost aruncată pe pânze. În ciuda criticilor, grupul de artiști a găsit clienți care i-au apreciat și au continuat cu mai multe expoziții cu succes mai mare în anii următori.

În 1879, Camille a murit de tuberculoză. Monet a fost dureros. A petrecut câteva luni în doliu înainte de a începe din nou să picteze serios. În acest timp, el a încredințat îngrijirea copiilor săi soției unei prietene, Alice Hoschedé, care va deveni ulterior a doua sa soție.

În această perioadă a început să documenteze peisajele din mediul rural francez. S-a mutat din sat în sat, studiind efectele luminii și culorilor pe diferite subiecte. În 1883, s-a stabilit în sfârșit în satul Giverny, unde își va petrece următoarea jumătate a vieții. A pictat lucrări care vor deveni cele mai cunoscute serii din cariera sa - serii precum Haystacks și Water Lilies. Datorită constanței subiecților, el a fost capabil să arate variațiile infinite pe care le-a avut vremea și atmosfera, capabil să descrie cât de drastic o singură scenă s-ar putea schimba de dimineață la noapte, de la o zi însorită la una mohorâtă.

Monet s-a îndrăgostit de casa și grădina sa. De-a lungul anilor, el și-a transformat treptat reședința în faimoasa pe care o cunoaștem astăzi - o grădină inspirată din Asia de Est, cu un pod japonez peste un iaz mare, plin de nuferi frumoși de diferite rase. El a fost intens implicat în proiectarea grădinii, mergând până la angajarea a șapte grădinari și respingând cea mai mare parte a muncii lor. Pentru a vopsi grădina la cel mai bun nivel, el a angajat chiar și muncitori să vâsle dimineața pentru a curăța orice praf de nuferi înainte de a se așeza la muncă.

Claude Monet a murit la vârsta de 86 de ani, lăsând în urma sa o impresionantă galerie de peste două mii de lucrări.

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Cunoscut de unii ca tatăl impresionismului, Claude Monet a fost un pictor francez prolific de la mijlocul anilor 1800 până la începutul anilor 1900

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Cunoscut de unii drept tatăl impresionismului, Claude Monet a fost un pictor francez prolific de la mijlocul anilor 1800 până la începutul anilor 1900. Lucrările sale au încă prețuri impresionante la Christie's și Sotheby's, la aproape o sută de ani de la trecerea sa și cu un motiv întemeiat.

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Enumerati principalele caracterstici ale acestui curent artistic sub forma unor comentarii la aceasta postare.

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Comentati urmatoarele aspecte:
- se indeparteaza Cezanne de pictura traditionala de piesaj?
- De ce Cezanne este considerat un precursor al Cubismului?

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By using our website you accept our conditions of use of cookies to track data and create content (including advertising) based on your interest. Find out more about what data we collect and use at .

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artwork mountains in provence paul cezanne

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Mountains in Provence, 1880, 73×54 cm by Paul Cezanne: History, Analysis & Facts

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By using our website you accept our conditions of use of cookies to track data and create content (including advertising) based on your interest. Find out more about what data we collect and use at .

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File:Paul Gauguin, Bonjour Monsieur Gauguin (1889)

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Raspundeti la urmatoarele intrebari:
- Poate fi considerat Gaugain un precursor al Fovismului? Daca da in ce fel?
- ce tip de compozitie este explorata?

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English

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Summary[edit]

Paul Gauguin: Bonjour Monsieur Gauguin

Artist

Paul Gauguin  (1848–1903)

Alternative names | Henri Eugène Paul Gauguin
Description | French painter and writer
Date of birth/death | 7 June 1848 | 9 May 1903 / 8 May 1903 / 1903
Location of birth/death | Paris | Atuona
Work location | Paris, Pont-Aven, Arles, Tahiti

Authority control

: Q37693

VIAF: 27064953

ISNI: 0000 0001 2100 026X

ULAN: 500011421

LCCN: n79055546

NLA: 35115434

WorldCat

Title

French: Bonjour Monsieur Gauguin (II)
Bonjour Monsieur Gauguin

Object type | painting
Date | 1889
Medium | oil on canvas
Dimensions | height: 113 cm (44.4 in); width: 92 cm (36.2 in)

Collection

National Gallery Prague

Native name | Národní galerie v Praze
Location | Prague  , Czech Republic
Coordinates | 50° 05′ 16.72″ N, 14° 25′ 17.9″ E
Established | 5 February 1796
Web page | ngprague.cz

Authority control

: Q1419555

VIAF: 312592840

ISNI: 0000 0001 1985 6472

ULAN: 500244830

LCCN: n80106968

NLA: 36273849

WorldCat

Accession number

O 3553 (collection of the National Gallery Prague)

References

Catalogues raisonnés:

W.322: Georges Wildenstein, Gauguin : I. Catalogue, 1964.

S.196: Gabriele Mandel Sugana (1972) L'opera completa di Gauguin, Milan: Rizzoli, no.  196.

Source/Photographer | The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202.

Permission
(Reusing this file)

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Other versions

Bonjour Monsieur Gauguin I (W.321, Los Angeles)

Licensing[edit]

This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:

The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.

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| 11:56, 19 May 2005 | | 2,536 × 3,250 (739 KB) | File Upload Bot (Eloquence) (talk | contribs) | {{Painting| |Title=<br /> ** ''de:'' Guten Morgen Herr Gauguin |Technique=<br /> ** ''de:'' Öl auf Leinwand |Dimensions=<br /> ** ''de:'' 113 × 92 cm |Location=<br /> ** ''de:'' Prag |Country=<br /> ** ''de:'' Frankreich |Gallery=<br /> ** ''de:'' Náro

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Usage on be.wikipedia.org

Нацыянальная галерэя (Прага)

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Národní galerie Praha

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Liste der Selbstbildnisse Paul Gauguins

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Κατάλογος έργων του Πωλ Γκωγκέν

Κατάλογος έργων του Εθνικού Μουσείου της Πράγας

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List of paintings by Paul Gauguin

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Anexo:Cuadros de Paul Gauguin

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Galerie nationale de Prague

Musée national de Prague

Veletržní palác

Liste des autoportraits de Paul Gauguin

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Autoritratti di Paul Gauguin

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ポール・ゴーギャンの作品一覧

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Národní galerie v Praze

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Национална галерија у Прагу

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Національна галерея (Прага)

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Horizontal resolution | 72 dpi
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Software used | Adobe Photoshop CS6 (Windows)
File change date and time | 19:22, 1 August 2018
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Unique ID of original document | 2A9AE12717FBC37BDA4CCA65FB10FFDE
Date and time of digitizing | 21:19, 1 August 2018
Date metadata was last modified | 21:22, 1 August 2018
IIM version | 511

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Dezbateti urmatoarele idei:
- care este amprenta distinctiva a lui Van Gogh?
- in ce fel se indeparteaza de Impresionism?

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His artistic career was extremely short, lasting only the 10 years from 1880 to 1890. During the first four years of this period, while acquiring technical proficiency, he confined himself almost entirely to drawings and watercolours. First, he went to study drawing at the Brussels Academy; in 1881 he moved to his father's parsonage at Etten, Netherlands, and began to work from nature.

Van Gogh worked hard and methodically but soon perceived the difficulty of self-training and the need to seek the guidance of more experienced artists. Late in 1881 he settled at The Hague to work with a Dutch landscape painter, Anton Mauve. He visited museums and met with other painters. Van Gogh thus extended his technical knowledge and experimented with oil paint in the summer of 1882. In 1883 the urge to be "alone with nature" and with peasants took him to Drenthe, an isolated part of the northern Netherlands frequented by Mauve and other Dutch artists, where he spent three months before returning home, which was then at Nuenen, another village in the Brabant. He remained at Nuenen during most of 1884 and 1885, and during these years his art grew bolder and more assured. He painted three types of subjects- still life, landscape, and figure-all interrelated by their reference to the daily life of peasants, to the hardships they endured, and to the countryside they cultivated. Émile Zola's (1885), a novel about the coal-mining region of France, greatly impressed van Gogh, and sociological criticism is implicit in many of his pictures from this period-e.g., Weavers and The Potato Eaters. Eventually, however, he felt too isolated in Nuenen.

Gogh, Vincent van: The Old Tower in the Fields g_muradin-iStock/Thinkstock

His understanding of the possibilities of painting was evolving rapidly; from studying Hals he learned to portray the freshness of a visual impression, while the works of Paolo Veronese and Eugène Delacroix taught him that colour can express something by itself. This led to his enthusiasm for Peter Paul Rubens and inspired his sudden departure for Antwerp, Belgium, where the greatest number of Rubens's works could be seen. The revelation of Rubens's mode of direct notation and of his ability to express a mood by a combination of colours proved decisive in the development of van Gogh's style. Simultaneously, van Gogh discovered Japanese prints and Impressionist painting. All these sources influenced him more than the academic principles taught at the Antwerp Academy, where he was enrolled. His refusal to follow the academy's dictates led to disputes, and after three months he left precipitately in 1886 to join Theo in Paris. There, still concerned with improving his drawing, van Gogh met Henri de Toulouse-Lautrec, Paul Gauguin, and others who were to play historic roles in modern art. They opened his eyes to the latest developments in French painting. At the same time, Theo introduced him to Camille Pissarro, Georges Seurat, and other artists of the Impressionist group.

By this time van Gogh was ready for such lessons, and the changes that his painting underwent in Paris between the spring of 1886 and February 1888 led to the creation of his personal idiom and style of brushwork. His palette at last became colourful, his vision less traditional, and his tonalities lighter, as may be seen in his first paintings of Montmartre. By the summer of 1887 he was painting in pure colours and using broken brushwork that is at times pointillistic. Finally, by the beginning of 1888, van Gogh's Post-Impressionist style had crystallized, resulting in such masterpieces as Portrait of Père Tanguy and Self-Portrait in Front of the Easel, as well as in some landscapes of the Parisian suburbs.

Gogh, Vincent van: Self-Portrait Courtesy of the Rijksmuseum, Amsterdam (Gift of F.W.M., Baroness Bonger-van der Borch van Verwolde, Almen)

After two years van Gogh was tired of city life, physically exhausted, and longing "to look at nature under a brighter sky." His passion was now for "a full effect of colour." He left Paris in February 1888 for Arles, in southeastern France.

The pictures he created over the following 12 months-depicting blossoming fruit trees, views of the town and surroundings, self-portraits, portraits of Roulin the postman and other friends, interiors and exteriors of the house, sunflowers, and landscapes-marked his first great period. In these works he strove to respect the external, visual aspect of a figure or landscape but found himself unable to suppress his own feelings about the subject, which found expression in emphatic contours and heightened effects of colour. Once hesitant to diverge from the traditional techniques of painting he worked so hard to master, he now gave free rein to his individuality and began squeezing his tubes of oil paint directly on the canvas. Van Gogh's style was spontaneous and instinctive, for he worked with great speed and intensity, determined to capture an effect or a mood while it possessed him. "When anyone says that such and such [painting] is done too quickly," he told his brother, "you can reply that they have looked at it too fast."

Van Gogh knew that his approach to painting was individualistic, but he also knew that some tasks are beyond the power of isolated individuals to accomplish. In Paris he had hoped to form a separate Impressionist group with Gauguin, Toulouse-Lautrec, and others whom he believed had similar aims. He rented and decorated a house in Arles with the intention of persuading them to join him and found a working community called "The Studio of the South." Gauguin arrived in October 1888, and for two months van Gogh and Gauguin worked together; but, while each influenced the other to some extent, their relations rapidly deteriorated because they had opposing ideas and were temperamentally incompatible.

Disaster struck on Christmas Eve, 1888. Physically and emotionally exhausted, van Gogh snapped under the strain. He argued with Gauguin and, reportedly, chased him with a razor and cut off the lower half of his own left ear. A sensational news story reported that a deranged van Gogh then visited a brothel near his home and delivered the bloody body part to a woman named Rachel, telling her, "Guard this object carefully." The 21st-century art historians Hans Kaufmann and Rita Wildegans, however, examined contemporary police records and the artists' correspondence and concluded, in Van Gogh's Ohr: Paul Gaugin und der Pakt des Schweigens (2008; "Van Gogh's Ear: Paul Gauguin and the Pact of Silence"), that it was actually Gauguin who mutilated van Gogh's ear and that he did so with a sword. Whatever transpired, van Gogh took responsibility and was hospitalized; Gauguin left for Paris.

Gogh, Vincent van: Fishing Boats on the Beach at Les Saintes-Maries-de-la-Mer Fine Arts Images/SuperStock

Van Gogh returned home a fortnight later and resumed painting, producing a mirror-image Self-Portrait with Bandaged Ear and Pipe, several still lifes, and La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851-1930). Several weeks later, he again showed symptoms of mental disturbance severe enough to cause him to be sent back to the hospital. At the end of April 1889, fearful of losing his renewed capacity for work, which he regarded as a guarantee of his sanity, he asked to be temporarily shut up in the asylum at Saint-Rémy-de-Provence in order to be under medical supervision.

Van Gogh stayed there for 12 months, haunted by recurrent attacks, alternating between moods of calm and despair, and working intermittently: The Starry Night, Garden of the Asylum, Cypresses, Olive Trees, Les Alpilles, portraits of doctors, and interpretations of paintings by Rembrandt, Delacroix, and Millet date from this period. The keynote of this phase (1889-90) is fear of losing touch with reality, as well as a certain sadness. Confined for long periods to his cell or the asylum garden, having no choice of subjects, and realizing that his inspiration depended on direct observation, van Gogh fought against having to work from memory. At Saint-Rémy he muted the vivid, sun-drenched colours of the previous summer and tried to make his painting more calm. As he repressed his excitement, however, he involved himself more imaginatively in the drama of the elements, developing a style based on dynamic forms and a vigorous use of line (he often equated line with colour). The best of his Saint-Rémy pictures are thus bolder and more visionary than those of Arles.

Van Gogh himself brought this period to an end. Oppressed by homesickness-he painted souvenirs of Holland-and loneliness, he longed to see Theo and the north once more and arrived in Paris in May 1890. Four days later he went to stay with a homeopathic doctor-artist, Paul-Ferdinand Gachet, a friend of Pissarro and Paul Cézanne, at Auvers-sur-Oise. Back in a village community such as he had not known since Nuenen, four years earlier, van Gogh worked at first enthusiastically; his choice of subjects such as fields of corn, the river valley, peasants' cottages, the church, and the town hall reflects his spiritual relief. A modification of his style followed: the natural forms in his paintings became less contorted, and in the northern light he adopted cooler, fresh tonalities. His brushwork became broader and more expressive and his vision of nature more lyrical. Everything in these pictures seems to be moving, living. This phase was short, however, and ended in quarrels with Gachet and feelings of guilt at his financial dependence on Theo (now married and with a son) and his inability to succeed.

In despair of ever being able to overcome his loneliness or be cured, van Gogh shot himself. He did not die immediately. When found wounded in his bed, he allegedly said, "I shot myself....I only hope I haven't botched it." That evening, when interrogated by the police, van Gogh refused to answer questions, saying, "What I have done is nobody else's business. I am free to do what I like with my own body."

Van Gogh died two days later. Theo, his own health broken, died six months later (January 25, 1891). In 1914 Theo's remains were moved to his brother's grave site, in a little cemetery in Auvers, where today the two brothers lie side by side, with identical tombstones.

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Vincent van Gogh - The productive decade

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Vincent van Gogh - Vincent van Gogh - The productive decade: His artistic career was extremely short, lasting only the 10 years from 1880 to 1890. During the first four years of this period, while acquiring technical proficiency, he confined himself almost entirely to drawings and watercolours.

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Henri de Toulouse-Lautrec | The Sofa 1894-1896 | The Metropolitan Museum of Art

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Comentati:
- analizati paleta cromatica folosita de Lautrec;
- comentati dinamismul compozitiei;

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Exposition H. de Toulouse-Lautrec. Exh. cat., Musée des Arts Décoratifs. [Paris], 1931, p. 36, no. 114, states that it was no. 90 in the sale of Dr. Soubies on June 14, 1928.

Romain Coolus. "Souvenirs sur Toulouse-Lautrec." L'Amour de l'art 12 (April 1931), fig. 8, states that it has not been published previously.

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 96.

M.-G. Dortu, Madeleine Grillaert, and Jean Adhémar. Toulouse-Lautrec en Belgique. Paris, 1955, p. 35, pl. 32 (installation photograph from Exh. Brussels 1935).

Maurice Rheims. "La cote des Lautrec." Toulouse-Lautrec. Paris, 1962, p. 224, states that Druet paid Fr 141,000 for it at the Soubies sale.

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX-XX Centuries. New York, 1967, pp. 204-5, ill., includes it in the group of pictures Toulouse-Lautrec made in brothels between 1892 and 1896, dating it between 1894 and 1896; remarks that the nearer figure appears in an oil sketch at Albi and that the same two women were models for a painting called "Rue des Moulins" in the Chester Dale collection.

M. G. Dortu. Toulouse-Lautrec et son œuvre. New York, 1971, vol. 1, ill. pp. 60 (installation photograph of Exh. Brussels 1935), 61 (installation photograph of Exh. Paris 1938); vol. 3, pp. 370-71, no. P.601, ill., dates it 1895.

G. M. Sugana in The Complete Paintings of Toulouse-Lautrec. London, 1973, p. 110, no. 368, ill., dates it 1894.

Naomi E. Maurer and Charles F. Stuckey in Toulouse-Lautrec: Paintings. Ed. Charles F. Stuckey. Exh. cat., Art Institute of Chicago. Chicago, [1979], p. 252, fig. 4.

Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 11, 238, ill. pp. 238-39 (color; overall and detail).

Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 73, colorpl. 52.

MaryAnne Stevens in The Passionate Eye: Impressionist and Other Master Paintings from the Collection of Emil G. Bührle, Zurich. Exh. cat., National Gallery of Art, Washington. Zürich, 1990, pp. 188, 242 n. 4, under no. 67.

Richard Thomson in Toulouse-Lautrec. Exh. cat., Hayward Gallery, London. New Haven, 1991, pp. 18, 410, 420, 432, 434, no. 139, ill. p. 433 (color), notes that even while depicting suspenseful, anticipatory, and suggestive scenes of sexuality featuring prostitutes, as lesbian couples, the artist still gives them traditional roles, representing one as "impassive and dominant, the other as submissive and adoring," adding that the male client is almost never seen; comments that the name of the model in the foreground is Gabrielle and illustrates many other compositions for which she modelled; calls it one of four paintings of lesbian couples that Toulouse-Lautrec made in mid-decade ("Femmes en repos," P.597, Gemäldegalerie, Dresden; "Les Deux Amis," P.602, Bührle collection, Zürich; and "Les deux amies," P.598, private collection), the first three of which are larger and share color, compositional, and size similarities; suggests that all explore moments of psychological nuance between the two women depicted and questions whether these scenes were observed or invented.

Gilles Néret. Henri de Toulouse-Lautrec, 1864-1901. Ed. Ingo F. Walther. New York, 1995, pp. 136, 147, ill. (color) [German ed., 1994], dates it about 1894-95.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 505, ill. p. 504.

Colta Ives. Toulouse-Lautrec in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 23, 61, fig. 58.

Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 156-57, 259, no. 116, ill. (color and black and white).

Susan Alyson Stein in Masterpieces of European Painting, 1800-1920, in The Metropolitan Museum of Art. New York, 2007, pp. 186-87, 309, no. 173, ill. (color and black and white).

Rebecka Lennartsson in Toulouse-Lautrec. Exh. cat., Nationalmuseum. Stockholm, 2008, pp. 90, 92, 184, no. 29, colorpl. 111.

Jaklyn Babington in Toulouse-Lautrec: Paris & the Moulin Rouge. Exh. cat., National Gallery of Australia. Canberra, 2012, p. 139, ill. pp. 106, 138 (color, overall and detail), discusses the influence of Impressionist technique on the painting of the background and the erotic connotations of the black stockings worn by the sitters.

Splendeurs & misères: Images de la prostitution, 1850-1910. Exh. cat., Musée d'Orsay. Paris, 2015, p. 286, colorpl. 140.

Easy Virtue: Prostitution in French Art, 1850-1910. Exh. cat., Van Gogh Museum. Amsterdam, 2016, p. 179, no. 10, ill. p. 23 (color).

Nathalie Heinich in Toulouse-Lautrec: Résolument moderne. Ed. Stéphane Guégan. Exh. cat., Galeries nationales du Grand Palais. Paris, 2019, p. 324, fig. 257 (color).

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Henri de Toulouse-Lautrec | The Sofa | The Metropolitan Museum of Art

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Exposition H. de Toulouse-Lautrec. Exh. cat., Musée des Arts Décoratifs. [Paris], 1931, p. 36, no. 114, states that it was no. 90 in the sale of Dr. Soubies on June 14, 1928. Romain Coolus. "Souvenirs sur Toulouse-Lautrec." L'Amour de l'art 12 (April 1931), fig. 8, states that it has not been published previously.

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Fiti atenti la raspunsurile colegilor! Interactionati si raspundeti si la ele!

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Fiti atenti la raspunsurile colegilor! Interactionati si raspundeti si la ele!