Toulouse Lautrec.
NMR| N° d'inventaire | 22109 |
| Format | 22 x 29 |
| Détails | 352 p., 350 illustrations, hardcover with dust jacket. |
| Publication | Paris, 2019 |
| Etat | Nine |
| ISBN | 9782711874019 |
The other dimension of the work that should be linked to his apprenticeship is the desire to represent time, and soon to unfold its duration rather than freeze its movement. Whether it was Princeteau, his master in horse painting, Cormon, an energetic painter par excellence, or Degas, who pushed him to track down dynamics beyond dance, Lautrec never stopped reformulating the space-time of the image. The artist managed to reconcile the subjective fragmentation of the image and the desire to raise modern life towards new myths. As his correspondence attests, Manet, Degas and Forain enabled him, from the mid-1880s, to transform his powerful naturalism into a more incisive and caustic style. Real continuities can be observed on both sides of his short career. One of these is the narrative component, which Lautrec departs from much less than one might think. It is particularly active near death, around 1900, when his vocation as a history painter takes a desperate turn. Between painting, literature, and new media, the exhibition thus finds its way, as close as possible to this involuntary midwife of the 20th century.
The other dimension of the work that should be linked to his apprenticeship is the desire to represent time, and soon to unfold its duration rather than freeze its movement. Whether it was Princeteau, his master in horse painting, Cormon, an energetic painter par excellence, or Degas, who pushed him to track down dynamics beyond dance, Lautrec never stopped reformulating the space-time of the image. The artist managed to reconcile the subjective fragmentation of the image and the desire to raise modern life towards new myths. As his correspondence attests, Manet, Degas and Forain enabled him, from the mid-1880s, to transform his powerful naturalism into a more incisive and caustic style. Real continuities can be observed on both sides of his short career. One of these is the narrative component, which Lautrec departs from much less than one might think. It is particularly active near death, around 1900, when his vocation as a history painter takes a desperate turn. Between painting, literature, and new media, the exhibition thus finds its way, as close as possible to this involuntary midwife of the 20th century.