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.
One of the early en plein air dissolute Toulouse Lautrec paintings was the Streetwalker. The pallid complexion and artificial hair color of his subject, a prostitute named Golden Helmet, clashed with the naturalistic setting of the drawing. Later on his career, Toulouse would devote an entire series of prints, called Elles, to life inside a brothel.
Yvette Guilbert and Jane Avril, two of Toulouse's favourite cafe concert stars were featured in one of his Toulouse Lautrec paintings, Divan Japonais. Yvette appeared at the upper left corner of the composition, with her head cropped at the top edge, her body elongated, wearing her trademark clothes.
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.
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.
During the 1850s, Gustave Courbet paintings went beyond the Omans subjects in their embrace of modernity. They captured the cafe culture of bohemian Paris through portraits of its denizens and works inspired by popular cafe songs. They also featured hunting scenes that brought Gustave critical and popular success.
One of the early en plein air dissolute Toulouse Lautrec paintings was the Streetwalker. The pallid complexion and artificial hair color of his subject, a prostitute named Golden Helmet, clashed with the naturalistic setting of the drawing. Later on his career, Toulouse would devote an entire series of prints, called Elles, to life inside a brothel.
Yvette Guilbert and Jane Avril, two of Toulouse's favourite cafe concert stars were featured in one of his Toulouse Lautrec paintings, Divan Japonais. Yvette appeared at the upper left corner of the composition, with her head cropped at the top edge, her body elongated, wearing her trademark clothes.
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.
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.
During the 1850s, Gustave Courbet paintings went beyond the Omans subjects in their embrace of modernity. They captured the cafe culture of bohemian Paris through portraits of its denizens and works inspired by popular cafe songs. They also featured hunting scenes that brought Gustave critical and popular success.
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Learn more about Toulouse Lautrec paintings. Stop by Darren Hartley's site where you can find out all about intimate Gustave Courbet paintings and what it can do for you.
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