By John Edwin Canaday
In Twelve Portfolios.
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Extra info for Metropolitan Seminars in Art. Portfolio 10 Techniques
1 864-1 901, French CLOWN, 1896 Color lithograph. Height 2oya". The Metropolitan Alfred Stieglitz Collection, 1949 Museum of Art, Henri de Toulouse-Lautrec was discussed in Portfolio 5 in connection with his poster Aristide Bruant (Plate 60). Like that poster, the lithograph Clown shows one of the theatrical characters he delighted in representing, one of the dozens of clowns, actors, singers, dancers, acrobats, animal trainers, and musicians of the vivid but fleeting world through which he moved.
Sloop, Bermuda is from his later period when, under the influence of English water-colorists, he adopted the bold, free, economical style described in the text. Although Homer suff"ered no financial hardship, his success during his lifetime was relatively modest, at least in comparison with the very high place he now occupies in American art. He seemed too simple, not as high-flown or "arty" as the academic painters who were commanding the best prices from a fashionable Of course it is this very simplicity, a native vigor, that is appreciated in his art today, while the artiness of the academic painters has relegated them to museum basements.
Woman with Chrysanthemums (Plate Family (Plate 75, Portfolio 7), we discussed his psychological penetration and analyzed the means by which he relayed his observations through composition. " 5, Portfolio And it 1) and the wonderful Bellelli true that in his intimate scenes of is women dressing or undressing, in a new aspect, one model in which the is unaware of the observer. The self-display, the elaborate, graceful poses, and the beautification of the average painted nude presupposes an audience.