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movies and pictures: a thrill with Toulouse Lautrec.

Henri de Toulouse-Lautrec (Albi, November 24, 1864 - Saint-André-du-Bois, September 9, 1901) was a great painter-impressionist francese.post, illustrator and lithographer. Documented in his works many details of the bohemian lifestyle of Paris in the late nineteenth century frequently met theaters, taverns and brothels of the famous Montmartre district.







Alphonse son of Count and Countess Adèle de Toulouse-Lautrec, Henri was the young man scarred by the physical stunting, from syphilis and alcoholism.





So his choice to "hide" in the shallows of the famous Parisian neighborhood of artists living among prostitutes for long periods, becoming a close confidant and witnessed with his pictures of their lives in despair. He died of complications due to alcoholism and syphilis Malromé the family estate near Saint-André-du-Bois, a few months before his thirty-seventh birthday.

Several films have described the life and art of this great painter, but I think the film Moulin Rouge with Jose Ferrer and Zsa Zsa Gabor, the director John Huston (1952) provide the right emotional approach to reading and interpreting the painting Toulouse Lautrec. I saw the movie on TV and I had this confirmed by a simple test: shooting some pictures on TV I had proof of what I thought. John Huston in his film has managed to convey the flavor of the atmosphere of bohemian Paris "through a shrewd set design and photography that
crop areas, such as impressions and colors found in the paintings of Toulouse Lautrec.











Watch case, the film received at the time (two Oscar Awards 1953 Oscar Best Art Color (Paul Sheriff and Marcel Vertes), Best Costume color (Marcel Vertes ) !


Want to try for one night a thrill? Look at the first DVD in the film Moulin Rouge in 1952 and after about an encyclopedia of art admired the paintings of Toulouse Lautrec. Try.

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George Catlin, painter of the red man.



As a child, even reading the comic strips, it was clear that the American Indians were a people of "losers."
in epic battles in the vast plains of the west always won inexorably "whites." They were, however, and only the bad, ugly, dirty, illiterate and a little silly that were opposed to the great civilization white man: for this is easy to see that never had an easy time even the artists who sought to document all 'time' the truth 'of this great people of the Earth. Not only that.




Before Pope John Paul II the Church, while professing to be universal, underneath was the "Italian parish" with openings to other European countries and other countries. They were ages ago, but the Pope was always
Italian. After the Polish pope, the German pope, and here we hope to follow other non-European pope.
The same thing happens when talking about painting the geographical boundaries often stop at the continent Europe.
For these reasons, proposed over quickly, I want to talk about an American artist, George Catlin, who has documented with beautiful pictures to the world as were the American Indians before the white man.
was born in Wilkes-Barres, July 26, 1796 and died in New York on 23 dicembre1872. After having carried out other activities devoted himself to painting and from 1830 he moved with his wife in St. Louis who was the starting point for any future trip to the "wilderness". There he met the general and the great explorer who with William Clark Meriwether Lewis before him on trips and in the discovery of the great plains of India and its people, where Catlin realized Hundreds of portraits of scenes of Indian life and the most famous Indian leaders exist at the time.



His collection of paintings is now at the Smithsonian Institute, Washington DC, the Joslyn Art Museum, Omaha, Nebraska, the Gilcrease Institute, Tulsa, Oklahoma, and the American Museum of Natural History, New York but George Catlin was not sufficiently appreciated by their contemporaries.

In reality, the artist hoped, with exhibitions and conferences to raise the public's admiration for the splendor of the world redskins almost over, but this did not happen and documentation submitted by the artist on the Indian civilization were considered falsehoods. For this reason in 1838 it was proposed to Congress the purchase of the Catlin collection to place it in a national museum, but the initiative did not succeed. The painter disappointed he left the States to make known his painting of the red man and the world to Europe, but never had any luck and after returning to New York, died disappointed and in debt to 74 years.