Thus it was that in the mid-1880s Toulouse-Lautrec began his lifelong association with the bohemian life of Montmartre. The cafés, cabarets, entertainers, and artists of this area of Paris fascinated him and led to his first taste of public recognition. He focused his attention on depicting popular entertainers such as Aristide Bruant, Jane Avril, Loie Fuller, May Belfort, May Milton, Valentin le Désossé, Louise Weber (known as La Goulue [“the Glutton”]), and clowns such as Cha-U-Kao and Chocolat.

In 1884 Toulouse-Lautrec made the acquaintance of Bruant, a singer and composer who owned a cabaret called the Mirliton. Impressed by his work, Bruant asked him to prepare illustrations for his songs and offered the Mirliton as a place where Toulouse-Lautrec could exhibit his works. By this means and through reproductions of his drawings in Bruant’s magazine Mirliton, he became known in Montmartre and started to receive commissions.

Toulouse-Lautrec sought to capture the effect of the movement of the figure through wholly original means. For example, his contemporary Edgar Degas (whose works, along with Japanese prints, were a principal influence on him) expressed movement by carefully rendering the anatomical structure of several closely grouped figures, attempting in this way to depict but one figure, caught at successive moments in time. Toulouse-Lautrec, on the other hand, employed freely handled line and colour that in themselves conveyed the idea of movement. Lines were no longer bound to what was anatomically correct; colours were intense and in their juxtapositions generated a pulsating rhythm; laws of perspective were violated in order to place figures in an active, unstable relationship with their surroundings. A common device of Toulouse-Lautrec was to compose the figures so that their legs were not visible. Though this characteristic has been interpreted as the artist’s reaction to his own stunted, almost worthless legs, in fact the treatment eliminated specific movement, which could then be replaced by the essence of movement. The result was an art throbbing with life and energy, that in its formal abstraction and overall two-dimensionality presaged the turn to schools of Fauvism and Cubism in the first decade of the 20th century.

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He exhibited for the first time in 1912 at the Salon des Indépendants in Paris, Galeries Dalmau in Barcelona, Der Sturm gallery in Berlin, the Salon de la Société Normande de Peinture Moderne in Rouen, and the Salon de la Section d’Or in Paris. That same year D.H. Kahnweiler signed Gris to a contract that gave Kahnweiler exclusive rights to the artist’s work. Gris became a good friend of Henri Matisse in 1914 and over the next several years formed close relationships with Jacques Lipchitz and Jean Metzinger. After Kahnweiler fled Paris at the outbreak of World War I, Gris signed a contract with Léonce Rosenberg in 1916. His first major solo show was held at Rosenberg’s Galerie l’Effort Moderne in Paris in 1919. The following year Kahnweiler returned and once again became Gris’s dealer.

In 1922 the painter first designed ballet sets and costumes for Sergei Diaghilev. Gris articulated most of his aesthetic theories during 1924 and 1925. He delivered his definitive lecture, “Des possibilités de la peinture,” at the Sorbonne in 1924. Major Gris exhibitions took place at the Galerie Simon in Paris and the Galerie Flechtheim in Berlin in 1923 and at the Galerie Flechtheim in Düsseldorf in 1925. As his health declined, Gris made frequent visits to the south of France. He died in Boulogne-sur-Seine on May 11, 1927.

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He studied at the Rijksakademie van beeldende kunsten in Amsterdam, and the art academies in Antwerp and Brussels. Among those he studied with were August Allebé and Hendrik Valkenburg (1826-1896). In his turn, he gave private lessons to Edmée Broers (1876-1955), Meta Cohen Gosschalk [nl], Maria Adeline Alice Schweistal (1864-1950) and Pauline Suij; at a time when women were not admitted to the Rijksakademie.

In 1892, he was awarded a Royal Subsidy to sustain his work. The 1901 edition of Camera Obscura [nl], by Nicolaas Beets, contains a portrait of the author by Haverman. He was also an art critic and wrote numerous articles for De Gids, the oldest Dutch literary journal. In 1918, there was a major retrospective of his works at the Pulchri Studio in The Hague. The first exhibition of his works after his death took place in 2008 at Pygmalion Visual Arts in Maarssen.

Hendrik Johannes Haverman was a Dutch painter who was born in 1857. Hendrik Johannes Haverman’s work has been offered at auction multiple times.

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Ventriloquist and Crier in the Moor is a watercolor, ink painting created by Paul Klee in 1923. It lives at the Metropolitan Museum of Art in New York.

Paul Klee was a Swiss painter of German nationality. His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. He was also a student of orientalism. Klee was a natural draftsman who experimented with and eventually mastered color theory, and wrote extensively about it; his lectures on form and design theory, published in English as the Paul Klee Notebooks, are considered so important for modern art that is compared to the importance that Leonardo’s A Treatise on Painting had for Renaissance. He and his colleague, the Russian painter Wassily Kandinsky, both taught at the German Bauhaus school of art, design, and architecture. His works reflect his dry humor and his sometimes child-like perspective, his personal moods and beliefs, and his musicality. His work influenced all later 20th-century surrealist and nonobjective artists and was a prime source for the budding abstract expressionist movement.

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In 1919, Klee applied for a teaching post at the Academy of Art in Dusseldorf. This attempt failed but he had a major success in securing a three-year contract (with a minimum annual income) with dealer Hans Goltz, whose influential gallery gave Klee major exposure, and some commercial success. A retrospective of over 300 works in 1920 was also notable.

Klee taught at the Bauhaus from January, 1921 to April, 1931. He was a “Form” master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios. In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials. And in the same year, the first series of Bauhaus books is published with works by Gropius (International Architecture), Paul Klee, Adolf Meyer, Oskar Schlemmer, and Piet Mondrian. Klee welcomed that there were many conflicting theories and opinions within the Bauhaus: “I also approve of these forces competing one with the other if the result is achievement.”

Klee was also a member of Die Blaue Vier (The Blue Four), with Kandinsky, Feininger, and Jawlensky; formed in 1923, they lectured and exhibited together in the USA in 1925. That same year, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists. Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major monograph on Klee’s work was published, written by Will Grohmann.

Klee also taught at the Dusseldorf Academy from 1931 to 1933, and was singled out by a Nazi newspaper, “Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he’s a thoroughbred Arab, but he’s a typical Galician Jew.” His home was searched by the Gestapo and he was fired from his job. His self-portrait Struck from the List(1933) commemorates the sad occasion. In 1933-4, Klee had shows in London and Paris, and finally met Pablo Picasso, whom he greatly admired. The Klee family emigrated to Switzerland in late 1933.

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Lenore Tawney (born Leonora Agnes Gallagher; May 10, 1907 – September 24, 2007) was an American artist known for her drawings, personal collages, and sculptural assemblages, who became an influential figure in the development of fiber art. Tawney began weaving in 1954. Her early tapestries combined traditional with experimental, using an ancient Peruvian gauze weave technique and inlayed colorful yarns to create a painterly effect that appeared to float in space. Because of her unorthodox weaving methods, Tawney was spurned by both the craft and art worlds, but her distinct style attracted many devoted admirers. She is considered to be a groundbreaking artist for the elevation of craft processes to fine art status, two communities which were previously mutually exclusive. Tawney’s weavings fall into three categories: the solid straight weaving, the open warp weave, and the mesh or screen woven as background for solid areas. Tawney often went beyond traditional definitions of weaving, including needlework to add action to the line of a woven design.

Furthering her experimentation, Tawney began creating what she called “woven forms”. These totem-like sculptural weavings abandoned the rectangular format of traditional tapestries, and were suspended from the ceiling off the wall. She sometimes incorporated found objects such as feathers and shells into these pieces. Beginning in 1964 Lenore Tawney began a series of linear drawings using ink on graphing paper. This eight piece collection would go on to inspire the 1990s series Drawings in Air, a three dimensional study of lines as threads in space. Tawney suspends threads in space with the help of plexiglass and wood framing.

In conjunction with her drawing series Tawney began a number of collage works. The artist utilized antique book pages, envelopes, and postcards as a working surface to which she liberally applied imagery, text, and drawing. These works contained a variety of messages, some secret to humorous messages. The artist sent collages to friends and eventually created a series of collage books along with other items.

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His life, devoted entirely to his work, was to be divided into two parts: from 1830 to 1847 he was a lithographer, cartoonist, and sculptor; and, beginning in 1848 and lasting until 1871, he was an Impressionist painter whose art was reflected in the lithographs he continued to produce. Constant work was not a burden to him; while producing 4,000 lithographs and 4,000 illustrative drawings, he sang sentimental songs whose foolishness made him laugh, and, “unconcerned with his works, he was always out drinking cheap wine with barge captains.”

Daumier’s sculptures have still not been sufficiently studied. The 15 or so small busts that he modelled in clay for the window of the satirical journal for which he worked and that remained there some 30 years occupy an important place in the history of sculpture. Scarcely differing from official busts, but with the accentuation of a detail that made them caricatures, they constitute an unforgettable gallery of the politicians of the July monarchy. The complete series has not been preserved: it included a Louis-Philippe, which Daumier hid, and other pieces that were broken in moving. A few copies of the busts were cast in bronze in the 20th century, and their originality is the more striking when they are compared with similar pieces of that period.

He did not do so, however, for he had become preoccupied with new technical studies; earlier than others, he had discovered Impressionism—faces and bodies devoured by the surrounding light and becoming one with the atmosphere. He painted a great deal, and the more so as his studies in the new technique did not interest the satirical journals to which he now submitted drawings devoid of humorous meaning. He was supported by Charles Baudelaire and by that poet’s friends. The two men had met in 1845 and saw each other more frequently after 1848. Baudelaire, who “adored him,” wrote in 1857 the only significant article on Daumier to appear in the painter’s lifetime.

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