Degas and Henner: Comparisons and Contrasts
by Richard Thomson
Although both born in the early 1830s, Degas and Henner left what seems to be radically different work. Yet this study brings out as many analogies as differences. The Parisian and the Alsatian, both with an academic background and deep respect for the old Masters, made good use of their skills and knew their limits. How did they use the resources of their time – techniques, genres, institutions, collectors, art dealers – to carve out their individual careers?
"A little circle of fawners and flatterers" – Bastien-Lepage in Great Britain
by Kenneth McConkey
Bastien-Lepage's arrival in London in 1879 and the exhibition of Haymaking at Grosvenor Gallery aroused excitement and lively debate. Critics were divided over these rough country folk just back from the fields who did not obey the codes of classical pastorals. How could this couple of dazed, work-weary peasants be fitted into the London art landscape? A generation of young English artists learned their lesson from Bastien-Lepage's naturalism.
A Piece of the Stoclet Palace at the Musee d'Orsay
by Anne Pingeot
The Musee d'Orsay's purchase of a masterpiece by Fernand Knopff marks a new stage in the enrichment of the museum's sculpture collection. By immortalising in marble the boyish figure of his sister Marguerite, the "super mystic of Brussels" sought an answer to Verhaeren's question "How can we address ideas alone in expressing the visible?"
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