THE PRICE OF FAME
- Munch, Tiger and Bear
- Dürer, Five Lansquenets
- Bonnard, Dans la Rue
- Vuillard, La Couturiére
- Bellows, The Hold-Up
- Magritte, Oreille-Cloche
- Canaletto, Landscape
- Cezanne, Self-Portrait at the Easel
- Matisse, Repos du Modèle
- Pissarro, Rue Saint-Romaine
- Tiepolo, Three Soldiers
- Rouault, L’Enfant de la Balle
- Toulouse-Lautrec, Yvette
- Jongkind, Jetée en Bois
- after Brueghel, Saint Jerome
- Blake, And My Servant Job
- Chagall, Le Vixe
- Piranesi, The Villa Albani
- after Rubens, St. Mary Magdalene
- Millet, La Fileuse Auvergnate
- Beckmann, Jacob Wrestles
- Corot, Environs de Rome
- Tissot, Le Matin
- Whistler, Little Dorothy
- Géricault, Cheval Anglais
- Ostade, The Barn
- Hogarth, A Chorus of Singers
- Watteau & Thomassin, Femme
- Goya, Nanny’s Boy
- Palmer, Herdsman’s Cottage
- Delacroix, Arabes d’Oran
- Sloan, Fifth Avenue Critics
- after Boucher, The Snare
- after da Vinci, Caricature Head
- Baskin, Bird-Man
- after Turner, In the Campagna
- after Raphael, A Muse
- Kirchner, Railway Curve
- Daumier, Eh, Eh ? Petit Gredin…
- Robert, Le Poteau
- Rowlandson, Wood Nymphs
- Doré, Lapplander Peasants
- van Dyck, Portrait of Brueghel
- after Constable, Mill Stream
- Rosa, Woman Walking to the Left
La Couturiére
Color lithograph, 1894, from the Album de la Revue Blanche, 248 x 169 mm., Roger-Marx 13 iv/iv. Fine impression on wove paper with good margins outside the image and therefore from the edition of 100 published in the album in 1895, rather than from the magazine publication.
This was only Vuillard’s second color lithograph and, like the first, confined to two colors, in this case, blue and ochre, with some overprinting. The subject is one of typical Vuillardian intimacy, and the situation, by a light-flooded window, gives the central part of the work a diaphanous quality, partially surrounded by the patterning on the sides and bottom. The colors are chosen not to describe reality, but to produce mood and pattern.
The work rather clearly differentiates even early Vuillard from Bonnard, frequently confused with one another in the same way that, musically, Debussy has been confused with Ravel. In each case the language may be similar but the artistic personalities are quite different.