For images from the Impressionist and Post-Impressionist show, click the links to go to the pages for Andre Barbier, Albert Besnard, Pierre Bonnard, Charles Camoin, Mary Cassatt, Paul Cezanne, Henri Edmond Cross, Edgar Degas, Maurice Denis, Andre Derain, Raoul Dufy, Jean-Louis Forain, Paul Gauguin, Eva Gonzales, Henri Matisse, Pierre August Renoir, Georges Rouault, Ker-Xavier Roussel, Paul Signac, Henri de Toulouse-Lautrec, Suzanne Valadon, Maurice de Vlaminck, and James A. McNeill Whistler; for a review of the show that concludes, "Art exhibits in Madison rarely get this good," click review. For a visual tour of our new Upton Gallery, click here.

Roussel met EdouardVuillard at the Lycée Condorcet in Paris and convinced him that, like Roussel himself, he wanted to be an artist. The two were vlose personally as well as artistically: Roussel married Vuillard's sister and the two were both involved in founding the Nabis group along with Bonnard and Maurice Denis. After a trip to the south of France with Denis (which included meeting Cezanne), Roussel found the subject matter with which he was to occupy himslef for most of his career as an artist, the world of nymphs, fauns, centaurs, and the landscapes of the classical myths in which they were to be found. Roussel was the subject of a monograph (which also serves as a catalogue raisonné of his prints) by the philosopher Alain (Emile-Auguste Chartier, whom André Maurois praised as "one of the greatest men of our time," adding, "I myself would not hesitate to say, the greatest"). Alain's The Gods, like Roussel's art, rejects 19th-century dialectics and logical positivism, preferring instead images and stories through which a "common pilosophy" based upon the community of religious traditions can be explored.

Roussel was part of the circle of artists (which included Forain, Rouault, and Chagall) who fell under the spell of the ambitous projects proposed by Ambroise Vollard, the greatest dealer in Paris during the early part of the 20th-century, who enticed artists to begin grand print projects which often advanced as far as the printing of an entire edition (as in the case of Chagall and Rouault) but sometimes resulted in the production of a few proofs, as in the case of theForain nudes in our show and a number of the Roussel lithographs. We have 18 lithographs by Roussel, of wich 11 are editioned works and 7 are rare proofs for various Vollard projects that never came to fruition. Pleaase inquire.

V. J. Roux-Champion (French, 1871-1953). Portrait de Ker-Xavier Roussel. Original etching for his portfolio, Dix Peintres de XXe Siécle in 1927. 250 impressions on various papers. Image size: 190x158mm. Price: $450.

Bacchanale, or Personages au bord de la mer (S 117). Original etching for his portfolio, Dix Peintres de XXe Siécle in 1927. 250 impressions on various papers. Image size: 155x225mm. Price: $825.

Bacchante (S. 57). Original lithograph, c. 1930. Only a few proofs are known. Commissioned by the great publisher Ambroise Vollard for an album of lithographs that was never realized. An extremely rare piece. Image size: 105x170mm. Price: $3075.

Centaure nageant sous l'orage (S. 49). Original lithograph, c. 1910. 50 impressions onjapon, 200 impressions on chine, and 30 impressions (of which this is one) for the deluxe edition of Aalains Introduction à l'oeuvre gravé de K. X. Roussel. His favorite imagery represnets a turning away from the modern world into a mythological landscape. Image size: 183x143mm. Price: $825.

Faun carrying a nymph on his back (S. 88). Original lithograph, c. 1930. Only a few proofs are known. Commissioned by the great publisher Ambroise Vollard for an album of lithographs that was never realized. An extremely rare piece. Image size: 200x150mm. Price: $3075.