The Last Respects

COLLECTION NAME:

The AMICA Library

mediaCollectionId

AMICO~1~1

The AMICA Library

Collection

true

AMICA ID:

DMA_.1985.R.76

amicoid

DMA_.1985.R.76

AMICA ID

false

AMICA Library Year:

2003

aly

2003

AMICA Library Year

false

Object Type:

Drawings and Watercolors

oty

Drawings and Watercolors

Object Type

false

Creator Name:

Toulouse-Lautrec, Henri

crn

Toulouse-Lautrec, Henri

Creator Name

false

Creator Dates/Places:

French, 1864 - 1901

cdt

French, 1864 - 1901

Creator Dates/Places

false

Creator Name-CRT:

Henri de Toulouse-Lautrec

crt

Henri de Toulouse-Lautrec

Creator Name-CRT

false

Title:

The Last Respects

otn

The Last Respects

Title

false

View:

Full View

rid

Full View

View

false

Creation Date:

1887

oct

1887

Creation Date

false

Creation Start Date:

1887

ocs

1887

Creation Start Date

false

Creation End Date:

1887

oce

1887

Creation End Date

false

Materials and Techniques:

Ink and gouache

omd

Ink and gouache

Materials and Techniques

false

Dimensions:

Overall: 40 x 32 3/4 x 2 in. (101.6 x 83.18 x 5.08 cm.)

met

Overall: 40 x 32 3/4 x 2 in. (101.6 x 83.18 x 5.08 cm.)

Dimensions

false

AMICA Contributor:

Dallas Museum of Art

oon

Dallas Museum of Art

AMICA Contributor

false

Owner Location:

Dallas, Texas, USA

oop

Dallas, Texas, USA

Owner Location

false

ID Number:

1985.R.76

ooa

1985.R.76

ID Number

false

Credit Line:

Dallas Museum of Art, The Wendy and Emery Reves Collection

ooc

Dallas Museum of Art, The Wendy and Emery Reves Collection

Credit Line

false

Rights:

http://www.DallasMuseumofArt.org

orl

<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>

Rights

false

Context:

This delightful subtle still life was painted when the artist was only eighteen years old, before he became certain of his profession as a painter. Its subject, a bunch of violets, has precise connotations to the French; men often bought small bouquets of fragrant violets from street vendors as gifts to women. Manet, Morisot, and Cassatt had already depicted them when Henri de Toulouse-Lautrec started this small painting. Given its imagery, the painting could be interpreted as a pictorial offering to a loved one or friend, except for the lack of an inscription and the fact that its first owner, Dr. Viau, was a prominent collector. The background of the painting is a freely brushed field of dark brown "ébauche" (underpainting) over white priming, and the forms of the glass and the flowers appear to have been defined in this paint while it was still wet. The delightfully gestural handling seems to be an attempt by the young painter as a tour de force, but he failed to achieve the elegance and ease of his hero, Edouard Manet, who was creating floral still lifes at the same moment, at the end of his career.The dimensions of the panel suggest that it, like most of the panel paintings by Georges Seurat, was painted on a cigar-box top. Many vanguard artists liked this material because such panels were readily available and were made of absolutely flat, excellent cured wood. In addition, the relatively small size of these panels allowed them to be packed easily for an outdoor oil sketching adventure."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 85

cxd

This delightful subtle still life was painted when the artist was only eighteen years old, before he became certain of his profession as a painter. Its subject, a bunch of violets, has precise connotations to the French; men often bought small bouquets of fragrant violets from street vendors as gifts to women. Manet, Morisot, and Cassatt had already depicted them when Henri de Toulouse-Lautrec started this small painting. Given its imagery, the painting could be interpreted as a pictorial offering to a loved one or friend, except for the lack of an inscription and the fact that its first owner, Dr. Viau, was a prominent collector. The background of the painting is a freely brushed field of dark brown "ébauche" (underpainting) over white priming, and the forms of the glass and the flowers appear to have been defined in this paint while it was still wet. The delightfully gestural handling seems to be an attempt by the young painter as a tour de force, but he failed to achieve the elegance and ease of his hero, Edouard Manet, who was creating floral still lifes at the same moment, at the end of his career.The dimensions of the panel suggest that it, like most of the panel paintings by Georges Seurat, was painted on a cigar-box top. Many vanguard artists liked this material because such panels were readily available and were made of absolutely flat, excellent cured wood. In addition, the relatively small size of these panels allowed them to be packed easily for an outdoor oil sketching adventure."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 85

Context

false

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The Last Respects