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Additional info for Edouard Vuillard
Squares of Paris are just These buildings remind us artificial oases or imitation masonry. The right of the composition up by a baby in a tartan dress is is tall described that parks and woodland bordered by held by the main group, sprawling on the ground, a little black pinafore standing, and two small boys struggling; on the made girl in a left, the gravelled path winds upwards, growing narrower towards the centre. At that point a bearded lady. promenader wearing a Behind them, mothers and children, summer shade.
In short, trivial accessories threaten to overwhelm them. Furthermore, he lacked the analytical and powers of a sitters satirical Jacques-Emile Blanche, a lesser but better portraitist. He stopped artist short of seeing through conventional appearance. Hence the blandness of these expert performances where imagination fails to take high flights. traits, the results of prolonged observation, are rooted in veracity. Each is unique in representation, not in any way dependent on a formula. their relentless objectivity 42 Nonetheless, these por- is What we miss in the painter's personality.
His is of an light, art, folded arms, and pale hands. " ')4 Painted about iSpj MOTHER AND SISTER OF THE ARTIST Oil on canvas, i^^/^ The Museum of Modern Art, One wonders New York X 22 ^j^" City. Gift of Mrs. Saidie A. May what Vuillard's contemporaries thought of such just a revo- lutionary kind of interior with figures as this one, so ingenious, deUberate, and, for all its whimsicality, so in touch with reality. they saw the point and were impressed. "Vuillard critic He a painter," Gustave Geffroy in 1893, "whose understanding gives at those aspects of furniture that he cares for, and it which carpets, it pleases and him is that wrote the me great delight.