Lautrec studied with two of the most admired academic painters of the day; Leacute;on Bonnat and Fernand Cormon. Lautrecrsquo;s time in the studios of Bonnat and Cormon had the advantage of introducing him to the nude as a subject. At that time life-drawing of the nude was the basis of all academic art training in nineteenth-century Paris. While still a student; Lautrec began to explore Parisian nightlife; which was to provide him with his greatest inspiration; and eventually undermined his health. Lautrec was an artist able to stamp his vision of the age in which he lived upon the imagination of future generations. Just as we see the English court of Charles I through the eyes of van Dyck and the Paris of Louis-Philippe through the eyes of Daumier; so we see the Paris of the 1890s and its most colourful personalities; through the eyes of Lautrec. The first great personality of Parisian nightlife whom Lautrec encountered ndash; and a man who was to play an important role in helping Lautrec develop his artistic vision ndash; was the cabaret singer Aristide Bruant. Bruant stood out as an heroic figure in what was the golden age of Parisian cabaret. Among the many other performers inspiring Lautrec in the 1890s were the dancers La Goulue and Valentin-le-Desosseacute; (who both appear in the famous Moulin Rouge poster); and Jane Avril and Loiuml;e Fuller; the singers Yvette Guilbert; May Belfort and Marcelle Lender; and the actress Reacute;jane. Lautrec was; along with Degas; one of the great poets of the brothel. Degas explored the theme in the late 1870s in a series of monotype prints that are among his most remarkable and personal works. He depicts the somewhat ungainly posturing of the prostitutes and their clients with human warmth and a satirical humour that brings these prints closer to the art of Lautrec than anything else by Degas.However; the truthfulness with which Lautrec portrayed those aspects of life that most of his more respectable contemporaries preferred to sweep under the carpet naturally caused offence. The German critic Gensel probably spoke for many when he wrote: ldquo;There can of course be no talk of admiration for someone who is the master of the representation of all that is base and perverse. The only explanation as to how such filth ndash; there can be no milder term for it ndash; as Elles can be publicly exhibited without an outcry of indignations being heard is that one half of the general public does not understand the meaning of this cycle at all; and the other is ashamed of admitting that it does understand it.rdquo;
#1791646 in eBooks 2013-03-15 2013-03-15File Name: B00CR6CZ8KPDF # 1
Review
1 of 1 people found the following review helpful. A great book for the Serious Kiristofferson fan!By A. RiceAlthough I give this five stars; let me clarify that.Who this book is NOT for:This is NOT your typical songbook!In the top left of the cover you will see "Recorded Versions Guitar" which tells you that this is transposed as closely as possible from at least one of the artists recordings. This also tells you that it "might" contain some very complex fingering using multiple instruments. Songs will require multiple page turns and if more than one guitar was used in the recording; then even more page turns will be required due to the space used to display the TAB for the second or third instrument.Anyone looking for lyrics with a simple melody (one staff) and chord letter designations would be best directed to look for a country or country/rock "Fake Book" which will normally restrict each song to a single page. Most of Kristoffersons works can be found in those books and you can learn and interpret them in your own way easily. It helps to have a background in music in order to interpret the fake book versions into something you can use for a paying audience; but they are great for campfires; family sing alongs; coffee houses; etc...Who this book IS for:Anyone who wants to play the song exactly as they heard it on Kris albums. A cover band. Or; anyone who wants to learn that version then develop their own version. Most of these "recorded Versions" books include TABs for multiple instruments and that eats up lots of space and requires multiple page turns for even the simplest of songs. (If you want to pull your hair out; try the Sheryl Crow book with multiple guitars in various alternate tunings!) The "recorded Versions" series attempts to present every note as recorded and thus a lot of paper is used. A dedicated student will appreciate the information provided and decide which parts they wish to retain and which they can do without when they do perform the song.As a "Recorded Versions" book; I found this to be fairly accurate. At least to my ears. I would like to have seen some different songs in some cases; but they cant all be number one songs. Again; your satisfaction with this book will be determined by your reasons for buying and your level of playing. I get most music from fake books but occasionally use the "Recorded Versions" series for a couple "special" songs.For those interested; some of the books with "Anthology" in the title are fairly complex and some are quite simple. Do your research; ask questions before making a purchase. That is why has a question and answer section for each product. Use it. Some of us actually give truthful answers.0 of 0 people found the following review helpful. Great start to some really great music.By Walter W. JonesTabs are accurate and most of the music is accurate to the albums. Worth the time to work with and add to your collection. I brought this because Sunshine and Shadows is out of print and I lost my copy. This is much smaller than Sunshine; but just as good. It has most of the key songs of Kristofferson. Im looking forward to doing my own arrangements from whats in the book.0 of 0 people found the following review helpful. Great book on Kris KristoffersonBy Josh GodfreyGreat book on Kris Kristofferson. Well done overall. Transcriptions are right off the albums as noted in the book. No complaints. Would highly recommend this book.