Note on Art
Dublin Core
Title
Note on Art
Subject
A note from LeRoy Neiman on his relationship with Henri Toulouse-Lautrec.
Description
This note from LeRoy Neiman is one of many touching on Henri de Toulouse-Lautrec. Neiman opens the writing with a remark repeated elsewhere in the collection, concerning his discovery of the artist—that is, meandering through the book department of the Golden Rule Department Store in St. Paul, with his mother; he had returned shortly from the war. But, the note should be understood as part encyclopedia, part anecdote. Neiman weaves through facts about Lautrec and associated publications alongside how the figure served as inspirational for Neiman, furthering his interests in illustration and catalyzing an his enrollment in things including but not limited to night drawing courses.
Creator
LeRoy Neiman
Source
LeRoy Neiman Foundation
Publisher
LeRoy Neiman Foundation
Date
c. 1990-2011
Contributor
LeRoy Neiman
Rights
Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.
Relation
Notes
Format
Image/jpeg
Language
English
Type
Document
Identifier
LN_Notes_987_01; LN_Notes_987_02
Coverage
New York (N.Y.) New York
Text Item Type Metadata
Text
LAUTREC
In 1949 Carl O. [?] wrote a (about 30 page) piece about Henri de Toulouse-Lautrec in [a] Chicago Art Institute publication of about 30 pages devoted to the Art Institute’s collection of theatric prints
Born 1864 Laurtrecs litho in 1893 in pure art Nouveau Influenced Young Picasso
[?] assistant Hugh Edwards would bring out box after box of Lautrec lithos for me to hold into white glove hands to study. His line, tonality, etc. The drawing. A half-century had passed since he passed away and me equal to update his—
I had discovered Lautrec, he knocked me for a loop. To hid in the book dept of the Golden Rule [department?] store in downtown St. Paul. Paging through the book (title) my mother at my side responded to my excitement and bout the book for me (cost.) publish in 19
(Over)
So I started taking evening (drawing) classes liked it so much I insisted on adding to my classes—the next semester.
The school concealed I was so adamant—on an on. /
It is a treasure[,] and she too paged through the book back home. I was enraptured. I sketched a lot in the army not knowing why. Anything, my buddies, officers, the gun sites. Here was Lautrec concentrating on a style of life of the sort of place I voluntarily sought out. It was like he owned it, invented it. He sure did invent the way he saw and drew it—etc.
[?] dismissed my interest[,] showing no interest in my discovery. Lautrec was not like anyone or thing I’d ever experienced.
I worked hard in class. Taking a crack at everything that presented itself. The [discipline?], the materials[,] tuned in on the instructors. Everyday was discovery day[.]
I was sampling, discarding, learning, my confidence in how my work measured up and grew, but there was something lacking. Something (else) I needed. It was to draw freely, subject of my own selection. I wanted to sketch. Investigate possibilities that would turn me loose, to discover for myself. To be like Lautrec
Then I kept leaning into the fashion illustration class door. They were drawing [?][,] reemphasizing different aspects of the figure[,] sort of like Lautrec. I was told at the office I could not register for F1 as a painting major.
In 1949 Carl O. [?] wrote a (about 30 page) piece about Henri de Toulouse-Lautrec in [a] Chicago Art Institute publication of about 30 pages devoted to the Art Institute’s collection of theatric prints
Born 1864 Laurtrecs litho in 1893 in pure art Nouveau Influenced Young Picasso
[?] assistant Hugh Edwards would bring out box after box of Lautrec lithos for me to hold into white glove hands to study. His line, tonality, etc. The drawing. A half-century had passed since he passed away and me equal to update his—
I had discovered Lautrec, he knocked me for a loop. To hid in the book dept of the Golden Rule [department?] store in downtown St. Paul. Paging through the book (title) my mother at my side responded to my excitement and bout the book for me (cost.) publish in 19
(Over)
So I started taking evening (drawing) classes liked it so much I insisted on adding to my classes—the next semester.
The school concealed I was so adamant—on an on. /
It is a treasure[,] and she too paged through the book back home. I was enraptured. I sketched a lot in the army not knowing why. Anything, my buddies, officers, the gun sites. Here was Lautrec concentrating on a style of life of the sort of place I voluntarily sought out. It was like he owned it, invented it. He sure did invent the way he saw and drew it—etc.
[?] dismissed my interest[,] showing no interest in my discovery. Lautrec was not like anyone or thing I’d ever experienced.
I worked hard in class. Taking a crack at everything that presented itself. The [discipline?], the materials[,] tuned in on the instructors. Everyday was discovery day[.]
I was sampling, discarding, learning, my confidence in how my work measured up and grew, but there was something lacking. Something (else) I needed. It was to draw freely, subject of my own selection. I wanted to sketch. Investigate possibilities that would turn me loose, to discover for myself. To be like Lautrec
Then I kept leaning into the fashion illustration class door. They were drawing [?][,] reemphasizing different aspects of the figure[,] sort of like Lautrec. I was told at the office I could not register for F1 as a painting major.
Original Format
Ballpoint pen on paper.
Files
Collection
Citation
LeRoy Neiman, “Note on Art,” LeRoy Neiman Foundation, accessed May 2, 2024, https://leroyneimanfoundation.omeka.net/items/show/81.