Toulouse-Lautrec begann noch wauml;hrend seines Studiums das Pariser Nachtleben zu erkunden; es sollte ihm zur wichtigsten Quelle der Inspiration werden und schlieszlig;lich auch zur Beeintrauml;chtigung seiner Gesundheit fuuml;hren. Das Paris der 1890er Jahre mit seinen schillernden Charakteren kann man nur durch die Augen Lautrecs wahrnehmen. Die erste bedeutende Persouml;nlichkeit des Pariser Nachtlebens; der Lautrec begegnete; war der beruuml;hmte Cabaretsauml;nger Aristide Bruant (1851 bis 1925); ein Mann; der Lautrec ganz wesentlich darin unterstuuml;tzte; seine eigene kuuml;nstlerische Vision zu entwickeln. In den 1890er Jahren inspirierten Lautrec zahlreiche Buuml;hnenkuuml;nstler: die auf dem beruuml;hmten Plakat des Moulin Rouge zu sehenden Tauml;nzerinnen La Goulue und Jane Avril oder Loiuml;e Fuller; die Sauml;ngerinnen May Belfort; Yvette Guilbert und Marcelle Lender sowie die Schauspielerin Reacute;jane. Lautrecs Aufrichtigkeit; mit der er viele Aspekte des Lebens abbildete; die die meisten seiner houml;her geachteten Zeitgenossen lieber unter den Teppich kehrten; erregte erwartungsgemauml;szlig; Anstoszlig;. Der deutsche Kunstkritiker Gensel schrieb: ldquo;Von Verehrung kann natuuml;rlich bei diesem Meister in der Darstellung alles Gemeinen und Perversen von vornherein nicht die Rede sein. Dass man Schweinereien ndash; es gibt keinen milderen Ausdruck dafuuml;r ndash; wie Elles ouml;ffentlich ausstellen darf; ohne einen Schrei der Entruuml;stung zu houml;ren; erklauml;rt sich nur daraus; dass ein Teil des groszlig;en Publikums den Sinn dieses Zyklus gar nicht versteht und ein anderer sich schauml;mt; sein Verstauml;ndnis einzugestehen!rdquo;
#3083669 in eBooks 2011-12-22 2011-12-22File Name: B00CR6D6FG
Review
0 of 0 people found the following review helpful. Its a fine book it takes you through the history of the ...By Efrain Avila DelfinIts a fine book it takes you through the history of the american social movement and protest songs in a very special way and it takes to understand the idyosincracy of the people; I recomended.0 of 0 people found the following review helpful. Five StarsBy briellelynetteThanks!17 of 20 people found the following review helpful. Too Much; Too Fast; Too General...By S. GeorgeI teach a course on the history of American popular music; therefore; I was excited when I saw this book. However; upon reading it; all I can say is..."um; okay." Here are a few points:1. Weissman is addressing a HUGE topic--one could write an entire book about each of his chapters. The result? He briefly scratches the surface of many subtopics before skipping along to the next. The book "feels" like someone who is trying to impress you with a vast amount of knowledge but only has three minutes to explain it...2. Some of his information is; at best; underdeveloped (or incorrect). He makes many good points (albeit briefly) regarding various ethnic groups and the music written for/by/about them. The first chapters on immigrants; American Indians; and African-Americans are interesting (but...head-spinningly quick and superficial). He does provide examples; but some of his assertions; especially in the later chapters (rock-oriented--which dont really start until about pg. 265) are laughable. Some examples--A) Alice Cooper and Marilyn Manson= glam rock?...maybe B)Sonic Youth= "representative of the macho; torn-t-shirt-and-big-biceps-attitude that was part of hardcore"? Um; have you listened to Sonic Youth? They were not hardcore (although they were on SST for a while--after hardcore was effectively dead). C) The B-52s=punk?! There are many other "huh?" moments; and while I may seem to be nitpicking...well; I am. Get your facts straight; especially with regards to modern music--there are many out here who know these types of music well (and are; frankly; more interested in them...they are ultimately more relevant than much of the info in this book). I get the impression from these (and many; many other) generalizations that Weissman is more interested in a Howard Zinn-like version of American musical history (the suffering of everyone who wasnt wealthy and white) than a relevant discussion of American music.I guess; overall; I feel a bit misled. The cover has pictures of Bob Dylan; Bob Marley; punks; etc.--it leads one to believe that this book is going to thoroughly address more "modern" musical forms--Im assuming that this was a marketing decision? Shrewd--it will sell more copies than if people could really see inside the book. The cover (and title) imply a modern approach--I would suggest a more comprehensive--and accurate--portrayal of these types of music(or maybe a new; more accurate title/cover?). I do applaud Mr. Weissman for what must have been an exhaustive project; but after reading it--he bit off more than he could chew (plus; he could have straightened out some of the details). The scope of this book is awesome; but frankly; the end result is not.