2B
Friday, February 12, 1988/University Daily Kansan
Nelson
Continued from p. 1B
gazing from her opera box while a male companion peers through binoculars behind her.
Others seemed taken by the intimate bouoir atmosphere seen in Renoir's "Woman Tying her Shoe" or "After the Bath, Woman Drying Herself" by Edgar Degas.
A number of small works by Georges Seurat give viewers the opportunity to examine the artist's painstaking pointillist technique, in which he created airy effects of light and space through countless small dots instead of outline.
young Woman Powdering herself," Seurat's portrait of his buxom mistress before her mirror, the build-up of tiny pastel dots creates a shimmering effect that is as insubstantial and charming as the powder on the model's powder puff.
As if to counteract the frothiness of Degas, Dugas and Renoir, the Courtauid show includes several spare and angular Cezanne landscapes, portraits and still lifes. Collector Samuel Courtaud began buying Cezannes relatively late in his collecting career, yet managed to gather a
Centre of the National Museum Musée
"La Jeanne" by Pierre-Auguste
Renoir.
wonderful assortment of the artist's works.
And when it comes to paintings that take the viewer worlds away, the Gaukins near the end of the exhibit are mesmerizing. "Haymaking" dates from the artist's Breton phase and portrays harvest through clear, bright colors with little shading.
"Nevermore" and "Te Reriao"
which translates "The Dream",
are large spellbindings paintings from Gaugin's second visit to Tahiti in
1897. They depict dreamy Tahitian women in languorous island settings and are enigmatic enough to viewers that many paused to ponder symbolic meanings they found within the paintings.
The works of Henri Rousseau, Henri de Toulouse-Lautrec, Pierre Bonnard, Amedeo Modigliani, Eduard Vullard and Alfred Sisley beckon in their own ways and round out the exhibit for a comprehensive view of the Impressionists and Post-Impressionists.
But the undisputed queen of the exhibit is Suzon, the wistful barmaid who looks out at us from "A Bar at the Folies Bercere" by Manet. Located about halfway through the exhibit, the painting draws larger crowds and more comments than any other.
Some viewers get lost trying to figure out the angles of mirrors and reflection in the painting. According to the exhibit catalog, X-ray examination reveals that the enigmatic reflections were intended by the artist.
The face of Suzon, the nightclub waitress who posed for the picture, appears on shopping bags in the exhibit store, on posters and on other promotional material for the exhibit
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