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Toulouse
built 642 days ago
Toulouse-Lautrec, many of whose works are in the museum that bears his name in Albi, was a prolific creator. His oeuvre includes great numbers of paintings, drawings, etchings, lithographs, and posters, as well as illustrations for various contemporary newspapers. He incorporated into his own highly individual method elements of the styles of various contemporary artists, especially French painters Edgar Degas and Paul Gauguin. Japanese art, then coming into vogue in Paris, influenced his use of sharp delineation, asymmetric composition, oblique angles, and flat areas of color. His work inspired van Gogh, Georges Seurat, and Georges Rouault.
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The most interesting building in Toulouse is the church of St Sernin or Saturnin, whom legend represents as the first preacher of the gospel in Toulouse, where he was perhaps martyred about the middle of the 3rd century. The choir, the oldest part of the present building, was consecrated by Urban II. in 1096. The church is the largest Romanesque basilica in existence, being 375 ft. from east to west and 210 ft. in extreme breadth. The nave (12th and 13th centuries) has double aisles. Four pillars, supporting the central tower, are surrounded by heavy masonry, which somewhat spoils the general harmony of the interior.
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Bob Toulouse's efforts had an equally extraordinary effect on the development of research across the university. When Bob became graduate dean in 1954, he assumed the chair of the Faculty Research Committee, which allocated appropriated funds intended to support faculty research and scholarship. This so-called Faculty Research Committee had three members: the Dean of the College, the Graduate Dean, and the President. Bob changed that by asking the Faculty Senate to elect representatives from the faculty to serve on the committee. Early in his tenure as committee chair he made a significant change in the allocation system by requiring all funding proposals to be peer reviewed. This came at a time when even the National Science Foundation was struggling to create its peer review system, which is now acknowledged as the fairest, most effective system of allocating federal dollars.
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Toulouse, the principal commercial and industrial centre of Languedoc, has important markets for horses, wine, grain, flowers, leather, oil and farm produce. Its pastry and other delicacies. are highly esteemed. Its industrial establishments include the national tobacco factory, flour-mills, saw-mills, engineering workshops and factories for farming implements, bicycles, vehicles,. artificial manures, paper, boots and shoes, and flour pastes.
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In old Toulouse, you'll see one of the fruits of this period of prosperity: The Hotel de Bernuy. With the highest tower in the old city, this architectural marvel is a blend of Gothic art, Italian and Spanish Renaissance style, and architecture typical of the Chateaux de la Loire. The hotel de Bernuy, which now houses the prestigious Pierre de Fermat high school, was originally the private dwelling of Don Juan de Bernuy -- a Spanish immigrant. Don Juan de Bernuy was at the head of a huge fortune, which became even larger thanks to the trade of the pastel in Toulouse. In 1525, De Bernuy made another claim to history by volunteering as the guarantor of the ransom for Francois the First who had been taken prisoner by Charles the Fifth. The amount of the ransom was evaluated at 1,200,000 gold coins.
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Encouraged by his first teachers, the animal painters René Princeteau and John Lewis Brown, Toulouse-Lautrec decided in 1882 to devote himself to painting, and that year he left for Paris. Enrolling at the École des Beaux-Arts, he entered the studio of Fernand Cormon. In 1884 Toulouse-Lautrec settled in Montmartre, where he stayed from then on, except for short visits to Spain, where he admired the works of El Greco and Diego Velázquez; Belgium; and England, where he visited Oscar Wilde and James McNeill Whistler. At one point Toulouse-Lautrec lived near Edgar Degas, whom he valued above all other contemporary artists and by whom he was influenced. From 1887 his studio was on the Rue Caulaincourt next to the Goupil printshop, where he could see examples of the Japanese prints of which he was so fond.
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