source http://www.artehistoria.jcyl.es/genios/cuadros/2159.htm
Countess Adèle de Touluose-Lautrec
Author: Toulouse Lautrec
Date: 1882
Museum: Private Collection
Features: 43 x 35 cm.
Material: Oil on canvas
Style: Neo-Impressionism One of the models represented in the training time of Toulouse-Lautrec is your mother, a loving, cultivated and always mindful of her son. Henri his admiration towards the countess reflected in the portraits, always emphasizing their smart and cool character profile was the most beloved position to represent it. This time we are faced with a sensational study possibly for another job where quick brushstrokes and impasto dominate the composition, receiving his face lighting from left to highlight the right side of his attractive and pleasant face. The dark tones contrasting with the light, creating an enjoyable game that reinforces
the expressiveness of the model.
Routy
Young Author: Toulouse Lautrec
Date: 1882
Museum: Bayerisches Nationalmuseum (Munich)
Features: 61 x 49'8 cm.
Material: Oil on canvas
Style: Neo-Impressionism In 1882 Toulouse-Lautrec began his artistic studies in Paris, entering the workshop Bonnat, leaving the influence of Princeteau to get closer to the style of Manet, now interested in countryside issues arising Millet's like this young man look. The portraits are a specialty of them Henri highlighting the personality of the models. Routy stands in the foreground, he appreciated after passing references to weed and a bank, interested the young painter made of natural light along with Impressionism. The color is applied quickly and vigorously to play a significant role over the drawing that is also present resulting in a set of great beauty.
Author: Toulouse Lautrec
Date: 1899
Museum: Museum of Boston
Features: 51'4 x 35'8 cm.
Material: Lithograph
Style: Neo-Impressionism The world of horses has always appealed to Toulouse-Lautrec in his early work under the influence of Réne Princeteau and recent works related to Degas. This image that we contemplate would be part of a series devoted to horse racing as well as the jockey, being mostly Pierrefort rejected by the printer. This watercolor shows the Lautrec facility for the drawing and his usual rapid and diluted color, becoming a defining element of their production.
Author: Toulouse Lautrec
Date: 1892
Museum: Musée d'Orsay
Features: 84 x 44 cm.
Style: One of the great muses of Toulouse-Lautrec is Jane Avril, a dancer at the Moulin Rouge since 1891. It was an unwanted daughter of a French courtesan and an Italian aristocrat, so her mother frequently abused during his childhood to the point of being hospitalized for a nervous breakdown. As soon became successful dancer by their frenetic and energetic dance that earned him the nickname "The melinite", a powerful explosive. They say he chose her dress and underwear to bring it into line with each of their dances. Jane had an interesting taste in literature and cultural curiosity, which quickly led to Henri. In this composition we see in a moment of nervous dance, dancing alone but did so in groups, "the quadrille." A Toulouse-Lautrec is interested in the motion picture and so part of cardboard is not painted, but to create a sense of depth, has outlined two figures in the background. Again highlights the interest granted by the painter to the front line color ranges using cold.
dance Author: Toulouse Lautrec
Date: 1899
Museum: Denver Art Museum
Features: 57'6 x 39'7 cm.
Material: Oil on cardboard
Style: Toulouse-Lautrec is the best chronicler of the Parisian nights during his short life, portraying the atmosphere of the brothels, dances and cafes. In this case presents a break at the masked ball to be held every Saturday from December to Carnaval in the Paris Opera. The male protagonist is none other than the cousin of the painter, Gabriel Tapie of Céleyran, with its typical red nose and his eyes behind his gold owl glasses. Gabriel is making indecent proposals to one of the many prostitutes who came to dance in search of business. Lucy could be Jordain, model used by Henri in the reserve of the "Rat Mort" box with which there is some relationship to the red seats and mirrors. This look is made of cardboard Henri after leaving a detoxification clinic which he joined because of their high level of alcoholism, resulting expressed significant change in the way you work to give greater importance to color and rapid brushstrokes and impasto , aside line drawing and, recovering the style of his early work as the Master of hunting or self-portrait.
In coffee, the customer and the cashier
Author: Toulouse Lautrec
Date: 1898
Museum: Kunsthaus Zurich
: 81 x 60 cm.
Material: Oil on cardboard
Style: Neo-Impressionist cafe scenes are very common in the production of the Impressionists and Post-Impressionist. Manet, Degas, Renoir and Toulouse-Lautrec himself offer a picturesque view of Parisian entertainment, reinforcing his role as chroniclers of his time. Lautrec in this work follows closely Degas good teacher, taking the work in the coffee as a model by placing two figures behind a table and a mirror, highlighting the isolation of the two characters but the plump bourgeois point your gaze toward the viewer novelty with respect to the image that would serve as a model. The cashier customer withdraws his gaze with a look that fun comes to finish his drink and continue their drinking. Once again, the wise lines dominate the set, inspired by the different tones applied quickly, almost violently, even traversing the contours. The board that serves as support is in most of the surface without cover, highlighting strokes are different objects. The photographic aspect involved in the production of Toulouse-Lautrec is evident in this wonderful scene, speculated that it could be a sketch for a lithograph which appear the contrast between a coffee
London and other Parisian.
Nude Before a Mirror
Author: Toulouse Lautrec
Date: 1897
Museum: The Walters Art Gallery (Baltimore)
Features: 62'2 x 47 cm.
Material: Oil on cardboard
Style: Neo-Impressionism not know the hidden meaning of this picture starring possibly a prostitute looking at her naked body in the mirror that decorates the entire stay where he is. Black stockings, the auburn hair and white skin reinforce the hypothesis of a case of prostitution, one of the favorites to Toulouse-Lautrec. The young master is modeled using a powerful line that dominates the set while the color is applied with an unprecedented ease in the production of Henri, choosing a shade that anticipate the Fauvism. The white cloth is spread on the whole is filled with shades of mauve, interacting with Impressionism, a movement of young artists who start to reach goals unsuspected by Pissarro, Monet and Renoir.
the Guignes
Author: Toulouse Lautrec
Date: 1894 Museum: National Gallery (Washington)
Features: 65 x 50 cm.
Material: Oil on cardboard
Style: Neo-Impressionism Meteni Oscar was the author of one of the most admired books by Toulouse-Lautrec: "Fighting for Love" which included a story titled "Alfred the Guignes" which serves inspiration for this work we contemplate, later used as illustrations in the book. The model used seems to be Gaston Bonnefoy, accompanied by two women at the bar of "Moulin Rouge." Alfred-Gaston appears on her back, introducing us to the composition while the woman leaning on the bar turns to look accomplice to the sad character. A second woman walks around the room while the figure of the bartender cut appears in the left area. The artificial lights are again involved in a cabaret work, being one of the more real by projecting the bar with the glasses toward the viewer. The rapid and forceful strokes organize the composition, leaving some areas of the board while painting. Still, we should note that the color is varied, highlighting the vibrancy of the colors applied with speed and ease, pasting the media. With these images enhances the appearance of "paparazzi" that applies to Toulouse-Lautrec by much of specialists.
La Goulue and Valentin will
Désossé
dancing Author: Toulouse Lautrec
Date: 1895
Museum: Musée d'Orsay
Features: 298 x 316 cm.
Material: Oil on canvas
Style: La Goulue Dancing Partner, Toulouse-Lautrec made two paintings to decorate the house that his good friend Goulue was installed in the "Foire de Trône" to abandon the "Moulin Rouge" on grounds of weight. The urgency of the assignment is one of the causes of sketchy works. La Goulue and Valentin Désossé he had been one of the couples dance most famous Moulin, where Henri had painted in the past even starring in the show poster. When leaving both the show, wanted to recall Lautrec in this composition the old times and has placed the two dancers in the room to see them succeed, surrounded by lights and fans watched spellbound her movements. Despite the general sketched the order, it clearly shows the genius of the drawing displayed by Henri primary characteristic of all production. Vivid color applied with long strokes is another constant of this exceptional chronicler of his time.
redhead sitting on a couch
Author: Toulouse Lautrec
Date: 1897
Museum: Private Collection
Features: 58'5 x 48 cm.
Material: Oil on cardboard
Style: Neo-Impressionism The naked women are part of the traditional iconography of French painting from Degas Fragonard, painter latter serving as a direct precedent for Toulouse-Lautrec. The prostitute - high heels, black stockings, the auburn hair and the riots sheets reinforce this hypothesis - not allow us to contemplate his face, remembering the pictures of Carmen Gaudin Henri made his first stage. The color has been applied with a masterly ease, in anticipation of the facets that characterize Cubism, without renouncing the use of a powerful line that clearly defines the contours and gives volume to the figure. The varied and used warm colors contrast with the eye color of the hair, the main element of the composition.
Author: Toulouse Lautrec
Date: 1890
Museum: Toulouse-Lautrec Museum
: 56 x 45 cm.
Material: Oil on cardboard
Style: The portraits of the characters near Lautrec are frequent in the 90's. This time it is Dihau Désiré, bassoonist of the Opera and distant relative of painter. Has been caught from behind, reading the newspaper, is Toulouse-Lautrec's instructions critic Edmond Duranty, who had written that through the back could determine the status and character of a person. Duranty was a close friend of Degas, precisely the painter Toulouse-Lautrec who took the picture naturalist. The bassoon is shown to us in a garden, possibly that of his friend Père Forest. In this garden has a strong accent Henri impressionist, with a light color and very close to Monet and Renoir, the same way, the loose brushwork is characteristic of this time. Not being very common these portraits, it is certainly more original and interesting.
Author: Toulouse Lautrec
Date: 1890 h.
Museum: Musée d'Orsay
: 54 x 40 cm.
Material: Oil on cardboard
Style: Neo-Impressionism Specialists believe that this model is called Honorine Platzer, young man of good family who sought to marry Lautrec. The beautiful woman standing outdoors, as part of a series of portraits painted from life by Toulouse-Lautrec between 1889 and 1890 as Henri Dieuhl Dihau or Justine. The elegantly dressed model with long red-buttoned gloves, hat, veil and hood, cutting its attractive profile with the background blurred. The long lines and the broad areas of support that remain unfilled are mature Henri features that are mixed in this composition with admiration for bringing natural light colored shadows, following the theories Impressionists but his style is very personal.
Author: Toulouse Lautrec
Date: 1889
Museum: Private Collection
Features: 68 x 55 cm.
Material: Oil on cardboard
Style: Neo-Impressionism Some experts think the model who posed for this cartoon was a dancer at the Moulin Rouge. The girl appears in front, cut the figure to a wall with pictures that serves as background, possibly alluding to the study of the painter. Toulouse-Lautrec focuses all his attention on the face of his model, noting his huge blue eyes that turn their gaze slightly lost to the viewer. The white skin contrasts with the dark color of its closed dress and hair, which serves loop focus. Henri shapes the figure through drawing strong, applying color over long strokes that do not address any details. The composition is organized in vertical and horizontal lines that frame the face of the anonymous young. At the auction held on January 31, 1922 in New York Kelekian room this work amounted to $ 1,900.
Author: Toulouse Lautrec
Date: 1899
Museum: Toulouse-Lautrec Museum
Features: 41 x 32'8 cm.
Material: Oil on cardboard
Style: Neo-Impressionism Convalescent after their stay at the detox clinic suffering from alcoholism, Toulouse-Lautrec decided to move to Bordeaux, embarking at the port of Le Havre. In this place he discovered a British pub located in the rue Général Faidherbe where he worked as a waitress, dancer and entertainer an Englishwoman named Miss Dolly. Lautrec was absolutely seduced by the local and the little English so he asked his friend Joyant you need to paint, making several portraits of the dancer, one in full play and it's bust look where the seductive smile of the girl and her blond hair become the true stars of the composition. Lautrec has regained the admiration of the color applied with long strokes, leaving some aside the preponderance of the lines to return to the original style of work as the Countess of Toulouse or the portrayal of Lily Grenier. The personality of the "Starlette" will be the focus of the group, bringing the figure to the foreground and waiving any spatial reference except for a series of geometric elements que parecen anticipar el cubismo.
Autor:Toulouse Lautrec
Fecha:1890
Museo:Museo Toulouse-Lautrec
Características:53 x 40 cm.
Material:Oleo sobre cartón
Estilo:Neo-Impresionismo Entre 1889 y 1890 Toulouse-Lautrec pintará una serie de retratos al aire libre, utilizando el jardín de "Père" Forest como escenario. Entre estos retratos encontramos el de la bailarina Gabrielle donde la figura de la mujer se sitúa en primer plano, vistiendo un elegante traje blanco y un amplio sombrero del mismo color. Al fondo contemplamos las flores que adornaban la casa, tomando sus paredes una tonalidad malva que domina el conjunto. Y es que la preocupación en estos momentos de Henri está en la ubicación de la figura a plena luz natural, siguiendo los dictados del Impresionismo al utilizar sombras coloreadas. En esta composición se conjuga la importancia del color, aplicado con pinceladas cortas pero rápidas y contundentes, junto a la seguridad y firmeza de la línea, reaccionando así Lautrec ante la pérdida paulatina de la forma que se estaba produciendo en las obras de Monet. Otra de las características clásicas de Toulouse-Lautrec la encontramos en la expresión del personaje, intentando el artista mostrar el carácter de sus modelos.
Rouge Author: Toulouse Lautrec
Date: 1892
Museum: Lost
Features: 80 x 60 cm.
Material: Oil on cardboard
Style: Neo-Impressionism The "Moulin Rouge" was the favorite location of Toulouse-Lautrec, a meeting point for artists, bohemians, prostitutes, nobles and wealthy bourgeois. The prevailing environment is thus narrated by an anonymous reporter: "Late at night, the stage is indescribable. The drink arouses the latent passions of those who dance, passion in this place should not be kept in any way. It play the horses, the women go around the room on the shoulders of men, everyone asks for a drink as loud. (...) After free room is left for the final performance of the group, which provides the most bizarre dance you can imagine in this bizarre environment. "In this composition there are two professional dancers contemplate taking their position on the track while the bottom look different tables and a waiter. Henri is interested in its work to collect a picture of the fun atmosphere of the place, like a chronicler of the brush is involved. His style dibujístico fast and where the line is not allowed to eat by color, identifies this atmosphere of pleasure that the artist lived and transmitted to us through their works.
Author: Toulouse Lautrec
Date: 1895
Museum: Private Collection
: 81 x 60 cm.
Material: Oil on cardboard
Style: Neo-Impressionism are many works by Toulouse-Lautrec devoted to this dancer, clown and "showgirl" whose stage name came from "Chahut-Chaos, clutter and chaos, derived from one of its dances at the "Moulin Rouge." Declared her lesbianism justify its inclusion in the Elles series, a set of lithographs in which the woman becomes the sole protagonist. In this beautiful image that we see the clown appears wrapped in a melancholy air as you stroll through one of the places where they work, highlighting the artist's ability to capture the character of its models. Wears the suit with which he acted, composed of a tight bodice and baggy trousers that gave an air of oriental appearance so popular among members of nineteenth-century French society. Lautrec is manifested as a great artist, especially in the face, applying color to be seen strongly in supporting the lines, leaving large areas of it remain unfilled. The light shades suggest the line used between the painter and his model, as part both of the marginal society that is interested in portraying Lautrec.
Kiss Author: Toulouse Lautrec
Date: 1892
Museum: Private Collection
Features: 60 x 80 cm.
Material: Oil on cardboard
Style: Neo-Impressionism Toulouse-Lautrec at the end of 1892 was commissioned to decorate the main room of the brothel located in the rue d'Amboise. We designed 16 panels Louis XV style, located in the center an oval with the portrait of women working in the premises. Lesbianism in most of the girls in the brothel led to the development of a series of jobs where prostitution and lesbianism are mixed, two of his favorite subjects treated with infinite affection and naturalness. In the bed or the image that we see are two good examples of this series where Henri reappears as a photographic chronicler of nineteenth-century Parisian night. The two women are covered by the painter without any reservation, showing their love openly addressing any. Both figures are located in foreshortened positions, using a line Lautrec dominating the composition to apply color quickly, in short, violent strokes that seem related to Pointillism. Contact with Impressionist painting is found in the use of colored shadows, preferably purple, distributed by the two women. The contrast of light and dark tones is another element to consider in this cartoon, one of the most attractive of the artist.
Author: Toulouse Lautrec
Date: 1882
Museum: Toulouse-Lautrec Museum
Features: 59'5 x 46 cm.
Material: Charcoal
Style: Neo-Impressionism Among the most important supports for Toulouse-Lautrec are his uncles Charles and Emile star in two separate charcoal which clearly demonstrates the ease of the young painter to the drawing, showing a firm line and insurance that offers the character of the character, an element common to most of the portraits of Toulouse-Lautrec.
La toilette
Author: Toulouse Lautrec
Date :1889-91
Museum: National Museum of the Louvre
: 64 x 52 cm.
Material: Oil on cardboard
Style: The interest always aroused the work of Degas in the spirit of Toulouse-Lautrec motivated to undertake any work as a tribute, finding the young naked in the bathroom painted by Degas in 1886 on the subject by to answer and honor. The figure of the girl with red hair and white skin appears behind the viewer, located between two wicker chairs and sitting on a carpet. In this way suggests that we are the painter in his studio without concern for the environment just to allude, in a sign of their radical naturalism. The pose of the figure, with the average half-lowered and shirt falling from the shoulders to the waist, reinforces that naturalism as there is no finishing in posture. The colors (mauve, yellow, green and blue) shows the starting point for Toulouse-Lautrec from Impressionism although its focus is on modeling and drawing, as seen in the nude girl.
Author: Toulouse Lautrec
Date: 1894
Museum: Musée Toulouse-Lautrec
Features: 111'5 x 132'5 cm.
Material: Oil on canvas
Style: One of the most famous works by Toulouse-Lautrec, the characters are a prostitute of the famous "Salon de la Rue des Moulins" who are awaiting the arrival of customers. Henri frequented the brothel and, possibly, women have looked in the foreground is Mireille, her favorite. The background, dressed in black with a pug nose is Rolande, another of his admiration. The richness of the brothel caused a sensation among visitors, especially for its luxurious rooms decorated in Chinese style, oriental, Japanese Gothic, in which wealthy clients that could satisfy their hidden fantasies erotic. The artist himself lived for a time in the Hall, where he invited his friends and dealers saying it was his study. Toulouse-Lautrec wanted to represent the boredom of prostitutes waiting for customers, there is no communication between them, are isolated perhaps by the presence of Madame Baron, a woman dressed in pink, who ran the business. Big fan as a resource diagonal composition - as revealed in previous works such as At the Moulin Rouge - Lautrec back here to use them to place his figures in space. The depth is accomplished by placing women in parallel planes, distorting the back of the room Moorish, which contemplate a column. Strong Drawing once again the defining characteristic of Toulouse-Lautrec but also should be noted the interest in color, especially the dark tones that adds to the soft tones that give more joy to the whole. Photography and Degas will be two of his biggest influences. The work was painted in the studio of Henri, attended by women to pose as witnesses a photo of the day.
Vincent van Gogh Author: Toulouse Lautrec
Date: 1887
Museum: Van Gogh Museum
Features: 57 x 46'5 cm.
Material: Pastel
Style: The celebrated author of Sunflowers, was a teammate of Toulouse-Lautrec in the study of Cormon, becoming good friends, their respect was mutual, influencing respectively. They even set out together in 1887 at the Café du Tambourin ", which is possibly set this image. The profile portrait of Henri had already employed in the Redhead, but the technique and style are different here when using long strokes and curves to define the forms. The colors used - with purple, yellow, green and brown - resembles the later employ Vincent. Toulouse-Lautrec, through his portraits, it shows the protagonists of the cultural and artistic life Paris. As in this case, you know to capture the personality and the strength of their characters, which places him among the best portrait of the late nineteenth century.
Author: Toulouse Lautrec
Date: 1890
Museum: Philadelphia Museum of Art
Features: 115 x 150 cm.
Material: Oil on canvas
Style: The opening of "Moulin Rouge" in 1889 for Toulouse-Lautrec represented one of the happiest moments of his life as they began a fruitful relationship with the major local fashion in Paris. In the lobby of income was his work In the Circus Fernando and later held various advertising signs of the temple of Parisian leisure. Dances, music and dancers attractions would make this place famous, among the outstanding performances of Pétomané, famous for its musical farts. At the Moulin was always friendly, as reflected in this scene where we find the unmistakable figure of Valentin will Désossé - boning, by type thin and agile - and a dancer who may be the Goulue - the Greedy, by his insatiable appetite -. Behind them we see a group of friends of the painter and hats, indicating that it is a place of higher grade than "Le Moulin de la Galette", the most popular playground famous by the Renoir painting. In the foreground and closing the circle are two women in profile - one of them, with a cheerful pink dress - and a man silhouetted due to the influence of photography, very common in those years had become fashionable Degas . The colors used by Toulouse-Lautrec is more alive, more cheerful than in previous works, which may indicate the artist's attraction to the place you are representing. Henri's painting becomes more personal and realistic grounds forget his early works. His interest in drawing - that would last a lifetime - can be seen in the line like we saw in the figures. The joy of the place has been captured perfectly, demonstrating their full integration into it.
Author: Toulouse Lautrec
Date: 1881
Museum: Toulouse-Lautrec Museum
Features: 93'5 x 81 cm.
Material: Oil on canvas
Style: Zoe Marie Adèle of Céleyran Tapie was the maiden name of mother of Toulouse-Lautrec. He was born in 1848 and had married his cousin Alphonse Charles, Count of Toulouse, possibly to increase the fortunes of both families. But the medical side of inbreeding would have on the couple's son disease picnodisostosis known, genetic disorder of bone that results in small stature, short legs, small hands and feet and a tendency to fracture. Henri's mother always felt a great affection for her son, reaching move to Paris - a fairly modest house unlike Malromé his palace, near Bordeaux - to be closer to him and to take some control of his life debauchery. That aspect of a good woman is what is striking in this portrait, perfectly crafted using a light-toned and a fast, loose brushwork that suggests an understanding of Manet's work but we can also find some reference Daumier. The psychological aspect of the model will be one of the facets that shine through in the portraits of Toulouse-Lautrec, and even in its early years.
Author: Toulouse Lautrec
Date: 1894
Museum: Toulouse-Lautrec Museum
Features: 111'5 x 132'5 cm.
Material: Oil on canvas
Style: One of the most famous works by Toulouse-Lautrec, the characters are a prostitute of the famous "Salon de la Rue des Moulins" who are awaiting the arrival of customers. Henri frequented the brothel and, possibly, the woman who look in the foreground is Mireille, her favorite. The background, dressed in black with a pug nose is Rolande, another of his admiration. The richness of the brothel caused a sensation among visitors, especially for its luxurious rooms decorated in Chinese style, oriental, Japanese Gothic, in which wealthy clients that could satisfy their secret erotic fantasies. The artist himself lived for a time in the Hall, where he invited his friends and dealers saying it was his study. Toulouse-Lautrec wanted to represent the boredom of prostitutes waiting for customers, there is no communication between them, are isolated perhaps by the presence of Madame Baron Women dressed in pink, who ran the business. Big fan as a resource diagonal composition - as revealed in previous works such as At the Moulin Rouge - Lautrec back here to use them to place his figures in space. The depth is accomplished by placing women in parallel planes, distorting the back of the room Moorish, which contemplate a column. The final drawing is again the defining characteristic of Toulouse-Lautrec but also should be noted the interest in color, especially the dark tones that adds to the soft tones that give more joy to the whole. Photography and Degas will be two of his biggest influences. The work was painted in the studio of Henri, attended by women to pose, as evidenced by a photograph of the time.
Author: Toulouse Lautrec
Museum: Private Collection
Features: 65 x 41 cm.
Material: China Ink
Style: Neo-Impressionism Toulouse-Lautrec is the "photographer" of his time, which led him to be considered by some experts as the paparazzi of the Belle Epoque. " In 1889 it was raised to develop a series about the world around him under the title "Boulevard Extérieur" making numerous studies like this we watch. The protagonist is Carmen Gaudin, one of the favorite models in their first moments Lautrec artistic, beautiful young redhead who was engaged in menial jobs, posing at times to increase their profits, leading to sporadic exercise prostitution. This street girl shuns the gaze of the viewer, covering part of the face with the tuft of hair. Lines dominate the set, once again demonstrating his ability to draw Henri and get excellent results not only giving volume to the figure but by creating sense of space thanks to the lines seen in the background.
Drinker
Author: Toulouse Lautrec
Date: 1889
Museum: Toulouse-Lautrec Museum
Features: 49 x 63 cm.
Material: Drawing
Style: Neo-Impressionism to the scene put his amateur painter Suzanne Valadon, a lover at the time of Toulouse-Lautrec, even threatening suicide if Henry did not agree to marry her. This could lead to the break, suggesting that this work was prior to that episode. This picture that we see a preparation for Resaca, a work in which Henri wishes to express the loneliness of the human being which leads to drinking, a subject already dealt with Degas or Manet himself. The fame of this work will lead to the realization an illustration for "Courrier français" published on April 21, 1889. In this beautiful drawing stroke appreciate the security displayed by Lautrec, showing a strong and dynamic line transmitting his feelings.
Cha-U-Kao sitting
Author: Toulouse Lautrec
Date: 1896
Museum: Art Museum (San Diego)
Features: 52 x 40 cm.
Material: Lithograph
Style: Esat look beautiful image that belongs to the Elles series by Toulouse-Lautrec between 1894 and 1896, narrating the life of the brothels and lesbians most famous of Paris, two of his favorite themes - see the kiss or the living room of the Rue des Moulins -. Cha-U-Kao is one of the protagonists of the series due to her lesbianism recognized. The name of this famous dancer-clown comes from "Chahut" Chaos, noise and chaos, the name of the dance he danced at the "Moulin Rouge" and that made her famous. In this lithograph the model is sitting with a certain indifference to her surroundings. This indifference and fatigue are also other issues of the series. The salient features of this scene are found in the interest in drawing showing Henri - Classic design away from Ingres to approach to modernism - and the influence of Japanese prints by using flat colors and a sinuous line, de aspecto decorativista. Mujer atándose el corsé también formaría parte de la serie.
Autor:Toulouse Lautrec
Fecha:1881-82
Museo:Museo de Sao Paulo
Características:55 x 46 cm.
Material:Oleo sobre lienzo
Estilo:Neo-Impresionismo Adèle-Zoë-Marie-Marquette Tapié de Céleyran tenía 23 años cuando dio a luz a Henri. Procedía de una ilustre familia emparentada con los Toulouse-Lautrec desde el siglo XVIII, poniendo en práctica la política matrimonial imperante en la época para unificar fortunas y evitar intromisiones en la nobleza. El carácter tranquilo e incluso melancólico de la condesa contrastaba con el dinamismo y arrogancia de su esposo lo que motivaría la separación de la pareja tras el fallecimiento de su segundo hijo en 1868. Son numerosos los retratos realizados por Henri a su madre, mostrando en todos ellos su aspecto dulce y apacible. En esta ocasión aparece al aire libre, posiblemente en el jardín del castillo de Malromé donde ella vivía, sentada en un banco azulado. La figura se sitúa de perfil, recortando su cabeza ante los arbustos y las flores, vestida con un blusón blanco y una larga falda oscura, sujetando entre sus manos una sombrilla. La composición está ejecutada gracias al empleo de una pincelada vibrante y empastada, aplicando el color en some areas with some violence, highlighting the use of colored shadows as did the Impressionists, especially Pissarro. Character outlines are drawn with firmness and security master Henri demonstrating their drawing feature of his mature works that leaves its protagonist role in this admirable scene color.
Author: Toulouse Lautrec
Date: 1892
Museum: Museum of Modern Art New York
Features: 79'4 x 59 cm.
Material: Oil on cardboard
Style: With Jane Avril, La Goulue was queen of the Moulin Rouge and at that time was at the height of his reign. Toulouse-Lautrec's portrait at the time of his daily walk around the cabaret. Accompanied by her lover, left, and one of the dancers of the show, called Nini Patte in L'Air, right. Both were the caretakers of the diva that appears in the center, dressed in white with a deep neckline and a ribbon in the neck that will fashion, like his hair back. Goes blank face forward, while their companions challenge to all who look La Goulue. Even Henri accentuates the contrast between the diva and her colleagues in the key of the costumes. The three figures moving toward the viewer, being at the bottom of the profile of a man with a hat and cabaret hall of mirrors that reflects the light. It should be noted the influence of photography in the work of Toulouse-Lautrec at the time of cutting planes, as was already doing Degas. The Impressionist light and color give way to other matters now of interest to artists. In the case of Henri, will be the theme night and the predominance of the color line, as well as the emerging flatness that is adding to its figures, the most noteworthy elements of this reaction neo-impressionist.
Author: Toulouse Lautrec
Date: 1892
Museum: Narodni Galerie in Prague
Features: 95 x 80 cm.
Material: Oil on cardboard
Style: Lesbianism is one of the most interesting topics for Toulouse-Lautrec and devote many images as the sofa. This is a picture of lesbian dance in which it appears another of the usual models of the painter: the clown Cha-U-Kao, dancing the waltz with an unknown partner in the Moulin Rouge. In this cabaret, lesbianism was well supported, unlike male homosexuality, possibly as part of the show. Behind the couple contemplate Jane Avril, dancing alone to enhance their personality alone. Sitting behind the dance floor is the friend of Toulouse-Lautrec and painter Charles Conder. The figure will be the major concern of Henri, perhaps for having taken his first steps into the realist. Always placed his characters in the sanctuaries of the Parisian night, showing great pictures of his life. The colors - mostly black - passed the background, like light, possibly because the light that had contact Lautrec was the gas lamps of the premises. The figures he loved are located at different levels to set the space, while not large, in an announcement of flatness that both appeal to Gauguin. BIOGRAPHY
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Toulouse Lautrec Lautrec. Henri Marie Raymond Toulouse-Lautrec
Nationality: France
Albi 1864 - 1901
Malromé Style: Neo-Impresionism
• Chronology • Gallery
About the life of Henri de Toulouse-Lautrec there are many topics, some in most cases. Lautrec myths, especially their inability to maintain stable relationships with women because of their insecurity, are known for a large part of the public, including through film. These insecurities and frustrations Henri carried the painting to develop an escape, a cop in the same way that Gauguin made his good friend Van Gogh. Henri Marie Raymond de Toulouse-Lautrec-Monfa was born on November 24, 1864 at the Hôtel du Bosc in the heart of Albi. His parents were first cousins \u200b\u200band held the title of Counts of Toulouse, were quite wealthy and influential in the city but had no power at national level. Henri was the firstborn, born four years later his brother Richard Constantine, who died at the age of one year. The family situation was not very stable due to irreconcilable differences of both spouses which led to their separation in August 1868 Henri leaving the care of a governess. After eight years, the little Henri went to Paris with her mother, beginning his studies at the Lycée Fontanes. In these years began its relationship with painting to draw cartoons and caricatures, receiving his first lessons from René Princeteau, animal painter and friend of the count. In 1874 he began to show early motor difficulties, which forced his withdrawal from school for undergone medical treatment and moved to Albi. The painter's mother will visit all the specialists to cure the ailment of small, without finding a solution. Henri suffered from the disease that was unknown in the nineteenth century, now called picnodisostosis, genetic disorder caused by inbreeding of the parents which affects bone development. This is the reason that Toulouse-Lautrec barely grew in adolescence. In this condition we must add two fractures in the femurs of both legs between May 1878 and August 1879. From this time his legs to stop growing, reaching a height of 1.52 meters. For about two years Henri was almost crippled, the young develop a keen interest in art and painting, continuing his role as illustrator. Reading is his other great passion in these two long years of convalescence. In 1881 Toulouse-Lautrec moved to Paris where he decides to be backed by his uncle, a painter and teacher Charles Princeteau. His mother gave and received the first lessons in the workshop Princeteau in the winter of 1882 where he met Jean-Louis Forain. April is accepted into the study of Léon Bonnat, fashionable portrait painter in those moments, where he perfected his drawing Lautrec. But Bonnat closed his studio in September 1882 that moved, which caused all students had to find a new teacher. The choice is Cormon Ferdinand, in whose studio he meets Henri Emile Bernard and Vincent van Gogh. The young Lautrec want to continue through the official channels for maximum artistic success, wants to be a conventional painter Realism continuing their teachers, as seen in works of that time: The young Routy or a cart. Toulouse-Lautrec Young participates in the division that will affect the Impressionists at the time, in line with the Degas painting and its subject more urban landscapes to get away from interpreting Monet, Pissarro and Renoir. Garde art also attracts a timely manner, trying to Pointillism, which fails to convince. Feel a special attraction to the painting Forain and backstage scenes, prostitutes, cafes and artists. Definitively, Lautrec would become the painter of modernity, leaving his conventional style to join the neo-impressionism. The night-world scenes and portraits of the characters almost caricatures of the night will be his favorite themes. The most notable influences are the paintings of Degas, Whistler, Japanese prints and Paolo Uccello, creating a readily identifiable personal style. When talking about Toulouse-Lautrec should make special reference to Montmartre, a place with a reputation for crime and bohemian who became a recreation center. In this neighborhood and Lautrec lived since 1884 when it shared housing with Grenier, standing there, the temples of the night: "Moulin de la Galette", the "Mirliton", "Le Chat Noir," "Moulin Rouge," "Folies Bergere" , circus "Fernando", the "Salon de la rue des Molins" ... The relationship between the painter and the "Moulin Rouge" will be special to become one of its biggest customers and to accurately interpret "nocturnal fauna" that was quoted in the store with all its cast of stars: La Goulue, Jane Avril, Valentin Désossé you, Cha-U-Kao and Yvette Guilbert. The place became the canvas in the circus Fernando to decorate the lobby and was Lautrec who designed the poster advertising of cabaret, the Moulin lobby serving on numerous occasions as an exhibition for the artist. As an avant-garde artist, Toulouse-Lautrec not be admitted to the Paris Motor unacceptable considering his work, leading the teacher to seek all possible alternative routes for the public to know his work, even with the illustrations in the newspapers. His solo works will be presented with lead groups or with friends, as in the case of Van Gogh. But possibly his posters and lithographs are the vehicle that gave more publicity to his work, linking with the existing desire to advertise in the city at that time, a broad series of prints of great beauty which seems to anticipate modernism. The Toulouse-Lautrec relationship with women is one of the most interesting facets of his life. The first known link is from 1883, when contact with a 17 year old model named Marie Charlet. Lily Grenier is shuffled as one of her lovers until she met Suzanne Valadon, living for a period of two years until Suzanne tries to commit suicide by refusing Henri having a child with her. Several fans go as far as choosing the anonymity of prostitutes to establish relationships with them, coming to dwell for a time in the Salon de la rue des Molins. The world of prostitution is one of the favorites for the artist, always viewed with affection and respect, showing you their most intimate as the known. Lesbianism is also addressed by Henri in the same way, resulting in colossal works like The two friends or L'Abandon. Well off its economic position allowed him to travel on many occasions, visiting Brussels, London, Madrid or different points of French geography. From 1893 relates to the Natanson brothers and the circle of La Revue Blanche, contacting the literary art and working as a decorator for the world of theater, portraying the most interesting members of the artistic circle. The night life and debauchery that had since age 25 Henri motivate alcoholism, suggesting even that might have contracted syphilis. In 1897 occurs the first attack of delirium tremens that takes you to shoot a gun at imaginary spiders. The following year he rented a house in the same building as his mother, concerned about the health of your child. In 1898, an attack will suffer persecution complex to believe chased by the police, taking refuge in a friend's house. Every time you drink more and paint less. The most serious crisis occurs in 1899 to succeed mania, depression and neurosis, accentuated by the transfer of his mother to Albi. Henri decides to commit suicide with methylene in the brothel in the Rue des Molins being admitted to a hospital for una temporada. Su estado de salud será noticia y motiva la subida en el precio de sus obras. La familia de Lautrec duda de su recuperación y critica sus excesivos gastos por lo que se sugiere que alguien se haga cargo de él. El objetivo será alejarle del alcohol, admitiendo la presencia de un tutor al que burlará continuamente, modificando incluso su bastón de paseo al introducir un vaso y una botella de aguardiente que contravenía la prohibición. En octubre de 1900 se traslada a Burdeos, donde sufre un nuevo ataque en el mes de marzo del año siguiente, una hemorragia cerebral que le afecta las dos piernas. En abril decide ir a París para organizar sus papeles. El 15 de agosto, en Arcachon, sufre un derrame cerebral que le deja half his body paralyzed. His mother decides to take Malromé Castle, near Bordeaux, where she lives, Toulouse-Lautrec died in that place September 9, 1901 at two-fifteen in the morning. SOURCE *********
http://www.artehistoria.jcyl.es/genios/cuadros/2159.htm
