Folies-Bergère / Louise Balthy
Identifiant(s):
1902011Z0, 1902011Z1 et 1902011Z2
1902011Z0, 1902011Z1 et 1902011Z2
Sujet:
Louise Balthy at the Théâtre des Folies-Bergère.
Louise Balthy at the Théâtre des Folies-Bergère.
Description:
Portrait of Louise Balthy, whom Cappiello had sketched many times since 1899.
She is seen in her act on the stage of the Folies-Bergère. She wears a dress with a bustle. Her hairstyle is eccentric.
"Chéret, in 1893, created a poster for L. Balthy at the Alcazar d'Eté. Louise Balthy, a whimsical actress, had just left Les Menus Plaisirs, the cradle of her success in 'Mademoiselle ma femme,' and was making her debut in café-concert before an audience curious to see what such an original personality could bring to song. He awkwardly depicts a dancer, a brunette chérette, lacking great originality. With a confident and dynamic line, on the contrary, Cappiello paints a portrait of such power that his Louise Balthy bursts through the poster. The light background highlights the suppleness of the silhouette, accentuated by the dress's pattern, and the grace of the arm's movement lifting the lacy, frothy train. Another poster is known for a Revue at the Folies Bergères, a composition of photos showing various artists in their roles. The layout of this poster is very close to that of 'Corset le furet': the arabesque and the overall movement of the poster are identical" [in Cappiello. Caricatures, posters, paintings. Grand Palais. 1981]
Portrait of Louise Balthy, whom Cappiello had sketched many times since 1899.
She is seen in her act on the stage of the Folies-Bergère. She wears a dress with a bustle. Her hairstyle is eccentric.
"Chéret, in 1893, created a poster for L. Balthy at the Alcazar d'Eté. Louise Balthy, a whimsical actress, had just left Les Menus Plaisirs, the cradle of her success in 'Mademoiselle ma femme,' and was making her debut in café-concert before an audience curious to see what such an original personality could bring to song. He awkwardly depicts a dancer, a brunette chérette, lacking great originality. With a confident and dynamic line, on the contrary, Cappiello paints a portrait of such power that his Louise Balthy bursts through the poster. The light background highlights the suppleness of the silhouette, accentuated by the dress's pattern, and the grace of the arm's movement lifting the lacy, frothy train. Another poster is known for a Revue at the Folies Bergères, a composition of photos showing various artists in their roles. The layout of this poster is very close to that of 'Corset le furet': the arabesque and the overall movement of the poster are identical" [in Cappiello. Caricatures, posters, paintings. Grand Palais. 1981]
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