Salvador, Bahia, Brasil (San-Salvador) - Johann Moritz Rugendas
Salvador - BA
Faz Parte do livro "Viagem Pitoresca Através do Brasil", Gravura 27
Gravura
domingo, 5 de maio de 2019
Salvador, Bahia, Brasil (San-Salvador) - Johann Moritz Rugendas
Salvador, Bahia, Brasil (San-Salvador) - Johann Moritz Rugendas
Salvador - BA
Faz Parte do livro "Viagem Pitoresca Através do Brasil", Gravura 27
Gravura
Foz do Rio Cachoeira, Bahia, Brasil (Embouchure de la Riviere Caxoera) - Johann Moritz Rugendas
Estado da Bahia - BA
Faz Parte do livro "Viagem Pitoresca Através do Brasil", Gravura 26
Gravura
Campos, Campos dos Goytacazes, Rio de Janeiro, Brasil (Campos) - Johann Moritz Rugendas
Campos, Campos dos Goytacazes, Rio de Janeiro, Brasil (Campos) - Johann Moritz Rugendas
Campos dos Goytacazes - RJ
Faz Parte do livro "Viagem Pitoresca Através do Brasil", Gravura 25
Gravura
Mercado Municipal, 1936, São Paulo, Brasil - Oskar Schmieder
São Paulo - SP
Fotografia
La Goulue e Môme Fromage, Paris, Brasil (La Goulue and Mome Fromage) - Henri de Toulouse-Lautrec
Paris - França
Metropolitan Museum of Arts Nova York
Litografia - 62x48 - 1892
La Goulue Chega ao Moulin Rouge, Paris, França (La Goulue Arrivant au Moulin Rouge) - Henri de Toulouse-Lautrec
Paris - França
MoMA Museu de Arte Moderna de Nova York
Óleo sobre cartão - 79x59 - 1892
Moulin Rouge : A Gulosa, Paris, França (Moulin Rouge: La Goulue) - Henri de Toulouse-Lautrec
Paris - França
Indianapolis Museum of Art
Litografia - 190x116 - 1891
Moulin Rouge: La Goulue is a poster by French artist Henri de
Toulouse-Lautrec. It is a colour lithograph from 1891, probably printed in about 3,000 copies,
advertising the famous dancers La Goulue and "No-Bones"
Valentin, and the new Paris dance hall Moulin Rouge. Although most examples were pasted as
advertising posters and lost, surviving examples are in the collection of the Indianapolis Museum of
Art and many other institutions.
Moulin
Rouge: La Goulue is a bold, four-color lithograph depicting the famous cancan dancer La Goulue and her flexible partner Valentine le
désossé made to advertise the popular French club, Moulin Rouge. Their audience
is reduced to silhouettes in order to focus attention on the performers and
evoke the Japanese art then in vogue. The triple repetition of the club's name
draws the focus down to the central figure of the poster, La Goulue herself. The
stark white of her petticoats, depicted with just a few lines on the white
paper, epitomizes Toulouse-Lautrec's boldly simplistic style, a sharp break
from the text-heavy posters of the day.
The Moulin Rouge had opened two years
earlier, in 1889, and instantly established itself as a Montmartre landmark. It was renowned for the elasticity
of its young dancers, both physically and morally; police officers made
periodic checks to ensure that they were all wearing underwear. However, the
poster by Jules Chéret advertising the club's
delights was relatively subdued, so the director Charles Zidler hired the young (only 27 years old)
Toulouse-Lautrec to create a more vibrant poster.
Although Moulin Rouge: La Goulue was Toulouse-Lautrec's first
attempt at lithography, such was his grasp of the medium's possibilities that
it was an immediate sensation. 3000 copies spread around Paris captivated the
public with their eye-catching design, bold colors, and innovative,
Japanese-inspired use of silhouettes. Cannily focusing on the dancer La Goulue,
whose energetic kicks and insatiable appetites had made her famous, gave the
poster an additional boost in popularity. But it was Toulouse-Lautrec's own
artistic skill that made him a star overnight.Arranjo em Cinza e Preto nº2 ou Retrato de Thomas Carlyle (Arrangement in Grey and Black No. 2 or Portrait of Thomas Carlyle) - James McNeill Whistler
Kelvingrove Art Gallery and Museum Glasgow Escócia
OST - 171x143 - 1872-1873
Arrangement in Grey
and Black, No. 2: Portrait of Thomas Carlyle is an 1872–73 oil painting by James McNeill Whistler. It depicts the Scottish social critic, philosopher and
historian Thomas Carlyle in a composition similar to that of Whistler's Arrangement
in Grey and Black No. 1: Portrait of the Artist's Mother, painted in 1871.
It is now in the Kelvingrove Art
Gallery and Museum in Glasgow, Scotland.
By the time he sat for Whistler, Thomas Carlyle had lived in Chelsea, London, for 47 years, and was one of its most recognized residents.
He lived at 24 Cheyne Row, now Carlyle's House, which is preserved as a museum, very near to Lindsey House, now 96 Cheyne Walk, where Whistler had his studio. Accompanied by a mutual friend,
Carlyle visited Whistler's studio, viewed the painting of the artist's mother,
and according to Whistler "He liked the simplicity of it, the old lady
sitting with her hands in her lap, and said he would be painted. And he came one morning
soon, and he sat down, and I had the canvas ready, and my brushes and palette,
and Carlyle said, 'And now, mon, fire away!'"
There exist
four preparatory studies in oil, and several drawings related to the finished
painting. Several sketches in the Freer Gallery of Art suggest
that while Whistler based the composition on the painting of his mother, he
also considered variations: a chalk drawing shows Carlyle seated at an angle to
the wall, a corner of the room shown at left, and without the coat that would
be thrown over his lap in the painting In the painting Whistler reverted
to the planar composition of Arrangement
in Grey and Black: Portrait of the Artist's Mother, and included the
robe that created a broader shape, reminiscent of the dress from the earlier picture. The
canvas is slightly larger than that of the portrait of Mrs. Whistler, and is of
a vertical format. Other differences include a subtle turn of the subject's
head toward the viewer, and the shape caused by the bunching up of Carlyle's
coat; these result in a mood of psychological disturbance that is quite
different from the more static pose of his mother's portrait.
The composition with a profile figure painted
in a range of dark tones is shared with the Portrait of the Artist's Mother, as is the over-riding concern
with aesthetic arrangement, for all the two works' psychological penetration.
Whistler painted the preeminent moral philosopher of his time as a nuanced
study in shapes and colours.
Though Whistler had initially requested two
or three sittings, Carlyle posed from 1872 into the summer of 1873. Several
witnesses recounted Carlyle's stillness juxtaposed with Whistler's frenetic
working movements, with the artist Hugh Cameron recalling "It was the
funniest thing I ever saw. There was Carlyle sitting motionless, like a Heathen
God or Oriental sage, and Whistler hopping about like a sparrow.
Years later
Whistler wrote of Carlyle:
"He is a favorite of mine. I like the gentle sadness
about him! -- perhaps he was even sensitive -- and even misunderstood -- who
knows!"
Whistler's reference to sadness, and the
sense of 'turbulence' in the characterization, may have reflected the remorse
of Carlyle's later years, following the death of his wife Jane Welsh Carlyle in
1866. While sitting for Whistler, Carlyle wrote in his journal "More
and more dreary, barren, base, and ugly seem to me all the aspects of this poor
diminishing quack world." In 1891 Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle became
the artist's first painting to enter a public collection when it was purchased,
at the insistence of the Glasgow Boys, by the City of Glasgow.
No Moulin Rouge, Paris, França (Au Moulin Rouge) - Henri de Toulouse-Lautrec
Paris - França
The Art Institute of Chicago
OST - 123x141 - 1892-1895
At the Moulin Rouge (French: Au Moulin Rouge) is an oil-on-canvas painting by French
artist Henri de Toulouse-Lautrec.
It was painted between 1892 and 1895. It is one of a number of works by
Toulouse-Lautrec depicting the Moulin Rouge cabaretbuilt in Paris in 1889; the others include At the Moulin Rouge, The Dance and
the poster Moulin Rouge: La Goulue.
The painting portrays near its center a group
of three men and two women sitting around a table situated on the floor of the
cabaret. From right to left, the people at the table include: Édouard Dujardin, dancer
La Macarona, photographer Paul Secau, and photographer Maurice Guibert. In the right foreground, apparently sitting
at a different table is a partial profile, with her face lit in a distinctive
light, is English dancer May Milton. In the background on the right is Moulin
Rouge dancer La Goulue and a woman. The center-left
background shows Toulouse-Lautrec himself, as well as Gabriel Tapié de Céleyran.
At the Moulin
Rouge is owned by
the Art Institute of Chicago as
part of the Helen Birch
Bartlett Memorial Collection, where it was first displayed on
December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art.
In At the Moulin Rouge Henri de Toulouse-Lautrec memorialized Parisian
nightlife at the end of the nineteenth century. The painting is noted for its
daring composition, dramatic cropping, and flat planes of strident color. A
regular patron of the Moulin Rouge, one of the most famous cabarets of the
Montmartre district, Toulouse-Lautrec here turned his acute powers of
observation on the club’s other habitués.
The flaming red-orange hair of the
entertainer Jane Avril is the focal point of the central seated group.
Preening
in the greenish mirror in the background is the dancer La Goulue.
The stunted
figure of the aristocratic artist appears, as it often did in life, next to his
devoted, much taller cousin, Dr. Gabriel Tapié de Céleyran.
But it is the
frozen, acid-green face of the dancer May Milton that dominates the canvas and
haunts the action.
The painting comprises two joined parts: a small main canvas
and an L-shaped panel to the lower and right edges. The canvas was severed
after the artist’s death, perhaps by his dealer (to make the composition less
radical and more saleable), and restored sometime before 1914.
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