L a - b e a u t é - s a u v e r a - l e - m o n d e ~ D o s t o ï e v s k i

L a - b e a u t é - s a u v e r a - l e - m o n d e  ~  D o s t o ï e v s k i

Sunday, May 29, 2022

The somewhat more respectable females - nine portraits by Toulouse-Lautrec

Madame Juliette Pascal, 1887.

I don't often share the work of the GREAT artists here, and even more rarely their best-known works. But it's never too much to celebrate the genius that was Toulouse-Lautrec. So much of his work - particularly the more lurid imagery - is so iconic, that I find it easier to marvel at his remarkable talent in the less-known, quiet and intimate works.

 Portrait Study of a Woman in Profile, 1890.
La comtesse Adèle de Toulouse-Lautrec [the artist's mother] au jardin, 1881.
Mademoiselle Dihau au piano, 1890.
Femme à l'ombrelle «Berthe la Sourde, assise dans le jardin de M. Forest», circa 1889.
Berthe "la Sourde" posing for the artist.
The model Hélène Vary in profile, 1888.
Hélène Vary, circa 1888.
 La comtesse Adèle de Toulouse-Lautrec [the artist's mother] dans le salon du Château de Malromé, circa 1883-86.
Madame Aline Gibert, 1887.
Comtesse Adèle de Toulouse-Lautrec, the artist's mother, 1881.

Friday, May 27, 2022

"Say 'mother may I,' and then spell...." - fourteen paintings of white cups, circa 1630-1968

Francisco de Zurbarán, circa 1630.
Groundhog Day, by Andrew Wyeth, 1959.
Henri Fantin-Latour, 1865
Cup of Coffee, by Wayne Thiebaud, 1961.
Jean-Baptiste-Siméon Chardin, circa 1764.
Vincent van Gogh, 1884.
 Cees Tromp, 1925.
Georges-Daniel de Monfreid, 1903.
Henri Fantin-Latour, 1871.
Gerald Norden, 1968.
Johann Zacharias Kneller, circa 1690.
Samuel John Peploe, circa 1927-29.
Antonio Donghi, 1928.
Henri Fantin-Latour, 1864.

Sunday, May 22, 2022

Miss Rogers, facing the music - Ginger Rogers (and Fred Astaire), publicity for "Follow the Fleet", 1936


"Let's Face the Music and Dance", music and lyrics by Irving Berlin. Gown by Bernard Newman. Set design by Carroll Clark under the direction of Van Nest Polglase.

The smiles are additional proof that these were staged images; there was decidedly no smiling in the sublimely poignant "Let's Face the Music and Dance."

The final eleven images are screen shots from the actual film.