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.
Featuring two of Toulouse's favourite cafe concert stars, Yvette Guilbert and Jane Avril, was one of the Toulouse Lautrec paintings, Divan Japonais. In the poster, Jane was seated in the foreground wearing one of her famously outlandish hats. Toulouse conveyed the essence of their personalities by exaggerating their characteristic features.
Gustave Courbet paintings challenged convention by rendering scenes from daily life on a large scale previously reserved for historical paintings. These works included The Stonebreakers and A Burial at Omans. Omans was Gustave's native village in the Franche-Comte in eastern France and it was where this group of paintings was set.
Gustave painted himself at the center of the universe in one of his Gustave Courbet paintings done in monumental canvas, The Painter's Studio. In the artwork, he was paradoxically painting a landscape within the confines of his studio. In the accompanying catalogue was included his Realist Manifesto, proclaiming his fidelity to subjects drawn from modern life.
It was during the 1850s that Gustave Courbet paintings went beyond the Omans subjects that had established his reputation. Among these paintings was a portrait of actor Louis Gueymard and society portraits on commission. There was the more intimate Jo, La Belle Irlandaise, a fusion of portraiture and genre painting.
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.
Featuring two of Toulouse's favourite cafe concert stars, Yvette Guilbert and Jane Avril, was one of the Toulouse Lautrec paintings, Divan Japonais. In the poster, Jane was seated in the foreground wearing one of her famously outlandish hats. Toulouse conveyed the essence of their personalities by exaggerating their characteristic features.
Gustave Courbet paintings challenged convention by rendering scenes from daily life on a large scale previously reserved for historical paintings. These works included The Stonebreakers and A Burial at Omans. Omans was Gustave's native village in the Franche-Comte in eastern France and it was where this group of paintings was set.
Gustave painted himself at the center of the universe in one of his Gustave Courbet paintings done in monumental canvas, The Painter's Studio. In the artwork, he was paradoxically painting a landscape within the confines of his studio. In the accompanying catalogue was included his Realist Manifesto, proclaiming his fidelity to subjects drawn from modern life.
It was during the 1850s that Gustave Courbet paintings went beyond the Omans subjects that had established his reputation. Among these paintings was a portrait of actor Louis Gueymard and society portraits on commission. There was the more intimate Jo, La Belle Irlandaise, a fusion of portraiture and genre painting.
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Learn more about dissolute Toulouse Lautrec paintings. Stop by Darren Hartley's site where you can find out all about Gustave Courbet paintings and what it can do for you.
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