source http:// *** www.artehistoria.jcyl.es/genios/cuadros/2159.htm
May Milton
Author: Toulouse Lautrec
Date: 1895
Museum: Private Collection
Features: 78'5 x 59 ' 7 cm.
Material: Lithograph
Style: Neo-Impressionism May Milton Toulouse-Lautrec commissioned this poster during a "tournée" by the United States. May was an English singer and dancer arrived in Paris with his ballet, later acting alone in the Rue Fontaine. " His relationship with Jane Avril was very close, did not reach the fame of the French. The poster is an excellent example of the artistic maturity of Henri, linking with modernism to integrate the script in all appropriate ways, while the dynamism of the Japanese print is found in the sharp diagonal that separates the two areas of color. The line up again emphasize to the flatness of the colors used. In France the
lithograph was published in "Le Rire" on August 3, 1895.
; Confetti
Author: Toulouse Lautrec
Date: 1894
Museum: Private Collection
Features: 57 x 39 cm.
Material: Lithograph
Style: Neo-Impressionism The British candy factory J. & E. Bella instructed the Toulouse-Lautrec poster to advertise their products. The girl who stars in the composition carries the smile of Jeanne Grenier, obtaining Lautrec as a result of his most innovative to effectively combine the safety of line and color, even creating a vaporous appearance by sprinkling ink.
Author: Toulouse Lautrec
Date: 1895
Museum: Private Collection
: 56 x 43 cm.
Material: Lithograph
Style: Neo-Impressionism The editor of "Depeche de Toulouse, Arthur Huc, decided to appoint Toulouse-Lautrec lithograph advertising for the novel" Le Tocsin "of Jules de Gastyne published in the daily deliveries. The success of the cartel took Huc Hangman's choice back to Henri as the director of the poster. Stylistically, it should be emphasized again the importance of the line in a job where the color goes unnoticed. The dramatic aspect of the chosen scene provide greater tension, almost essential element to attract readers.
Author: Toulouse Lautrec
Date: 1896
Museum: Art Museum (San Diego)
Features: 66.5 x 40 cm.
Material: Lithograph
Style: In the summer of 1895 Toulouse-Lautrec went to visit her mother, choosing the boat as a means of transport to move from Paris to Malromé, near Bordeaux. On the deck of the freighter "Chili" fell in love with a beautiful woman who was not formally presented and that he dubbed "the passing of 54." Henri Arriving at your destination, Toulouse, did not want to dismount, follow considering travel to where the lady was going to meet her husband, Dakar. His friend Maurice Guibert who was with him in Lisbon convinced him of his stupidity and went by road to Malromé. As a memento of this adventure, the unknown lady who occupied the cabin 54 is the protagonist of this lithograph that would later be used for an international poster exhibition held in the Salon des Cents "between 1895 and 1896, hence the letters accompanying the drawing. The image seems to have been done from memory, although there is speculation that could serve as a basis a photograph of the anonymous woman on the bridge of the ship. Security line star returns once again, the scenes painted by Lautrec, providing a dose of modernity pride in its work by offering a picture of the daily life of the bourgeoisie.
Author: Toulouse Lautrec
Date: 1895
Museum: Private Collection
Features: 59 x 42'5 cm.
Material: Lithograph
Style: Neo-Impressionism The writer William Milligan Sloan had written a biography of Napoleon to be published in the United States by the magazine "The Century". The dealer Valadon Boussod and organized a poster contest to advertise the issue, presenting 21 papers. The winning poster will receive more than 50,000 francs as a reward, gaining victory Métivet Lucien, also a student of Ferdinand Cormon as Lautrec. According to sources, Toulouse-Lautrec would be the third taking a prize of 500 francs while others suggest that the winner was Henri Dupray. Napoleon appears on the scene occupying the central space, together with a romper and a quarterback, wrapped in a hazy atmosphere that may evoke the success of the emperor. It is thought that more detail in this composition should be the artist's desire to please the jury president, the academic Gérôme. Lautrec himself decided to publish 100 copies of his own lithography.
Author: Toulouse Lautrec
Date: 1896
Museum: Private Collection
Features: 41 x 61 cm.
Material: Lithograph
Style: Neo-Impressionism in 1896 as Toulouse-Lautrec was commissioned to design a poster for the American literary magazine "The Chap Book" by choosing as the local environment run by Reynolds, the "Irish and American Bar" whose property was owned by a Swiss named Achille who was the painter of "Marquis Viscount." The attraction of the bar was the bartender Randolph, known as Ralph, famous for its potent cocktails served sparingly. Ralph is located behind the bar, highlighting its Oriental features - the son of a Chinese and an Indian - serving a cocktail of the driver of the Rothschild called Tom, accompanied by an anonymous character. As with the posters of Lautrec, the line is dominated by a composition in which the color has lost the flatness of other scenes, creating an excellent effect of perspective to put a man in the background, behind the bar. The faces of the various characters are captured quite naturally, showing his ability as a portrait painter Henri.
News Director of the collection: Luis Arias Sanguino
The troupe of Mlle. Eglantine
Author: Toulouse Lautrec
Date: 1896
Museum: Art Museum (San Diego)
Features: 61'5 x 77'5 cm.
Material: Lithograph
Style: Fame as Toulouse-Lautrec poster will grow from the success of Ambassadeurs. This reputation and friendship with Jane Avril motivate the assignment of this poster for the performance of "Mademoiselle Eglantine Troupe in London. The commission was in a hurry so I used Henri based on a photo of the dancers, changing his good friend Jane - at the end - perhaps because of the preference of the dancer to dance alone. Line is the major player in this lineup, a sinuous curve and it is related to modernism. The lyrics, as in many other posters are not works of Lautrec but another artist. The success in the English capital this work was significant because of the novelty of the composition and the bright colors, flat colors according to the Japanese print.
La Gitane
Author: Toulouse Lautrec
Date: 1899
Museum: Private Collection
Features: 91 x 63'5 cm.
Material: Lithograph
Style: Neo-Impressionism The drama in four acts "La Gitane" by J. Richepin was released in the theater "Antoine" on January 22, 1900. The advertising poster was commissioned to Toulouse-Lautrec who chose as a model to actress Marthe Mellot in the foreground while the background a gypsy placed away from the player to reinforce the drama of the work. The two figures stand before a certain flatness monochrome background, reinforcing the bias that shows a greater movement to the air layer of the gypsy and the top line. The characteristic features of Lautrec sages are also present in this work, a poster leaner due to the use of cool shades.
Author: Toulouse Lautrec
Date: 1893
Museum: Toulouse-Lautrec Museum
: 114 x 88 cm.
Material: Oil on paper
Style: Caudieux was one of comedy's most famous singers of the Parisian night, acting in the "Petit Casino", "Eldorado" and "Ambassadeurs". This image that we see is a model for the poster for her show in the "Petit Casino" opened in 1893, the year the comic achieved greater fame. After the successes with Ambassadeurs and Jane Avril, Toulouse-Lautrec is to become the poster of the nonsense that delighted the painter. Caudieux, also called the Man Cannon, appears on stage suggested slightly showing a gesture full of energy very common in the comic. Henri has managed to represent the legs of the character through rapid and violent strokes of white paste to give effect to the composition perfect movement, movement that lacks the poster. But the spotlight once again find him in the face of the character, brimming with energy and vitality, showing his personality.
News Director of the collection: Luis Arias Sanguino
May Belfort
Author: Toulouse Lautrec
Date: 1895
Museum: British Museum
Features: 79'4 x 60'4 cm.
Material: Lithograph
Style: The real name of this Irish singer was May Egan, his first steps took place in London, moved to Paris where he performed in all the trendy "Eden Concert", "Jardin de Paris", "Olympia", " Parisian "," Les Décadents "and" Petit Casino ". Toulouse-Lautrec made precisely this poster on the occasion of the latter local action. The relationship was very smooth even though the singer was not very popular among his friends because of the reputation of sadism that ran over her, admiring the snakes and toads. As an openly lesbian had sex with Jane Avril and May Milton. May is presented in this work with typical tunic, adorned as a girl and her soft voice that children performed songs with lyrics by two-way, holding a black cat in his hands, that the accompanying animal everywhere including the proceedings. The figure of the singer is very flat, showing a Japanese look on his face, thus reinforcing the influence of Japanese prints present in all the posters designed by Henri.
Jane Avril (Jeanne Beaudon), ca.
1892 called it "the Folle" by his crazy way of dancing and "melinite" **
Jane Avril (Paris, 1868-1943) born Beaudon Jeanne was a cancan dancer Parisian cabaret Moulin Rouge who rose to fame by being immortalized by Henri de Toulouse-Lautrec.
Marquis was the daughter of Italian Luigi de Font and his demi-mondaine (lover paid) known as La Belle Elise. When Jeanne was born, the Marquis gave to both.
Tormented by the abuse inflicted by his alcoholic mother, Jeanne was committed to a juvenile mental institution where she was treated by Dr. Jean-Martin Charcot.
In the hospital, began dancing in shows organized by the inmates, arousing admiration. Discharged at age 16, made his career dancing in the Latin Quarter of Paris.
In 1888, he met the writer René Boylesve (1867-1926) which changed its name to "Jane Avril". He got a contract at the Moulin Rouge and then in the Garden of Paris, famous cafe-concert on the Champs Elysees. Henri de Toulouse-Lautrec painted his portrait for an advertising poster and achieved great popularity as a can-can dancer, which allowed him to travel to London.
replaced in 1895 at the famous Moulin Rouge Louise Weber "La Goulue" with a completely opposite style.
At 42 she married the German painter Maurice Biais (c.1875-1926), who squandered their goods leaving her to die in abject poverty.
died in a nursing home in 1943 and is buried in Père Lachaise Cemetery.
Jane Avril was played by Zsa Zsa Gabor in the film Moulin Rouge, John Huston (1952). A character inspired by her, albeit with a different name (Satine) was played by Nicole Kidman in the movie musical Moulin Rouge! (2001).
Lautrec works with your image is in Paris at the Musée d'Orsay.
http://www.youtube.com/watch?v=HekiZQwuzM0
Moulin Rouge: La Goule
Author: Toulouse Lautrec
Date: 1891
Museum: Toulouse-Lautrec Museum
Features: 194 x 122 cm.
Material: Engraving
Style: The first poster by Toulouse-Lautrec I could not go to another place that the Moulin Rouge, Paris temple of entertainment, which already exhibited a painter's work. As a promotion of the show would employ two principal dancers Louise Weber - known as La Goulue for their gluttony - and Jacques Renaudin - wine merchant during the day and night dancer nicknamed him Désossé Valentin, boning, for its agility -. Both characters had already starred in the Moulin Rouge. The poster had a sensational reception among both the public and critics, which served to give encouragement to Toulouse-Lautrec. Used the silhouettes of the characters in planes, cut on a flat, silhouetted background also. The high point of view that uses - following the dance of the dancer - is very common in
the artist who modeled for Degas. ***************************
La Goulue (Louise Weber) (13 July 1866 - January 30, 1929) was a Can-can dancer Parisian, immortalized by Henri de Toulouse-Lautrec nicknamed "La Goulue" (the glutton), known in the Belle Epoque as "The Queen of Montmartre." La Goulue and Valentin
boned by Toulose Lautrec.Se believed he was born in Alsace in a Jewish family. The family settled in Clichy, near Paris, where his mother worked in a laundry. There is
the girl danced with the laundry clothes pretending to be a star of the scene. At age 16, and danced in music halls in clothes that took "borrowed" in the laundry.
It quickly became famous for his brash, extroverted and dangerous habit of emptying of a drink the glasses of the customers, so they called it "The wolverine."
The painter Pierre-Auguste Renoir entered the atmosphere of Montmartre and the group of the Loue (artists' models) where the photographer Achille Delmaet the nude portrait. Protected
wine merchant and amateur dancer (Valentin boneless) Jacques Renaudin (1843-1907), danced at the Moulin Rouge "Chalut, the first version of the can-can, becoming a star. Joseph Oller great crew joined the cabaret and she was dancing on the tables there.
In 1895, rich and famous, he decided to move away from the Moulin Rouge and mount their own show. The theater replaced it with Jane Avril.
The company was a terrible failure and she disappeared from public life sink into depression and alcoholism. In 1925 the white-haired and toothless found near Paris, in misery.
Back to Montmartre in 1928 as a seller of cigarettes and peanuts in a corner near the Moulin Rouge.
died in 1929 at his deathbed, asked the priest "Father, God forgive me?. I'm the greedy."
La Revue Blanche Author: Toulouse Lautrec
Date: 1895
Museum: Art Museum (San Diego)
Features: 126'7 x 89'6 cm.
Material: Lithograph
Style: The famous editor and patron Thadée Natanson commissioned in 1895 that Toulouse-Lautrec poster for advertising your magazine La Revue Blanche "which served as a fundamental reference point of poetic symbolism. The model used by Henry was the wife of the editor, Misia Godebska, muse of the avant-garde literary salon of the nineteenth century's most important. The poster look reminiscent of May Belfort although in this case the figure is more inclined and Misia wear a blue suit. The influence of Japanese prints is a constant in this type of work, especially the flatness of the figures. The decorative aspect of the image is also Japan's heritage of lithography, later serving as a model for the modernists
Features: 78'6 x 59'5 cm.
Material:
Engraving Style: Toulouse-Lautrec get quite a reputation as a poster announcing especially nightclubs he frequented. In this case it is the café-concert Divan Japonais, where they are trying to create a pseudo-oriental when all that came from East attracted attention. In the foreground are Jane Avril - famous dancer at the Moulin Rouge - and the symbolist critic Edouard du Jardin. Further away are the necks of the basses, the conductor's arms and, on stage, the unmistakable silhouette of Yvette Guilbert, the local singer who became the obsession of the painter. The influence of photography is very marked, as noted by cutting the pictorial planes - and even head Yvette -. Take the pressure space, with the planes very close to each other, is another feature of this excellent sign that we appreciate some debt to Degas.
Reine de joie Author: Toulouse Lautrec
Date: 1892
Museum: Art Museum (San Diego
Style: Toulouse-Lautrec made throughout his life a large number of charts from highlighting Divan Japonais, Ambassadeurs or is that look. "Reine de Joie" was the title of a novel by a Polish writer painter friend named Victor Dobrski, nicknamed Joze. In the poster we find the heroine of the novel, Hélène Roland , giving a financial kiss Olizac who, with his hooked nose, thick lips and his figure represents the stereotypical caricature of a Jew being considered by critics as anti-Semitic work that led to the start of the billboards in various locations. Henri turns to use in this composition to divide the area into two halves by a diagonal as it had done on canvas The Dance Moulin Rouge and the Moulin de la Galette. The juxtaposition of primary colors, the importance of drawing and the general flatness of the image are features inspired by Japanese prints, one of the most important influence in the posters of Lautrec http ************* : / / www.artehistoria.jcyl.es
Autor:Toulouse Lautrec
Fecha:1893
Museo:Art Museum (San Diego)
Características:128´3 x 94 cm.
Material:Litografía
Estilo: Jane Avril era una de las bailarinas más populares del París finisecular, entablando una estrecha amistad con Toulouse-Lautrec. Jane protagonizará varias escenas como Jane Avril bailando o Jane Avril saliendo del Moulin Rouge. Este local era su lugar habitual de actuación pero en julio de 1893 debutó en el café concierto "Jardin de Paris", encargando para la ocasión este cartel a Lautrec debido Ambassadeurs the success of last year. It was a printing of 3,000 copies that decorated the streets of Paris, with the work praised by critics. The dancer appears on stage in his frantic movement - called the "melinite" by comparing their way of dancing with the powerful explosive - while in the foreground we find the neck of a cello and the musician's hand, serving as a border in that there was some air modernist frame the figure of Jane Avril. Henri has managed to give depth to the lineup of very subtle way to express the tables and stage props, placing the letters on the top so that the dancer call our attention to literature Poster. The influence of Japanese prints found in the flatness of the colors used, predominantly online and in the entire production of the master.
Author: Toulouse Lautrec
Date: 1892
Museum: Art Museum (San Diego)
Features: 137 x 95 cm.
Material: Engraving
Style: One of the most emblematic of Montmartre was Aristide Bruant, a singer famous for his lyrics torn about the struggle of the workers and the marginalized. Despite their proletarian theme was a huge success allowing him to lease a the temples at night in Paris: Le Chat Noir, which changed its name to Le Mirliton, becoming the new meeting place for the bohemian artists. In Le Mirliton exposed Toulouse-Lautrec to the public for the first time in the magazine of the same name published some lithographs. This poster was made by Henri connection with the performance of Bruant in the Ambassadeurs, the best coffee-concert outside Paris - located on the Champs Elysees - which Degas has great pictures. The entire city was plastered with posters, which contributed to the success of Lautrec. Bruant was a hard man of violent behavior, always wrapped in a black velvet suit with fedora and red scarf. The hardness of the singer has been well played by Henri in this picture which shows its relationship with the Japanese prints which were both painters impressionists and post-impressionists. Aristide Bruant **
(Courtenay, 1851 - Paris 1925) French cabaret singer. Sens studied at the institute, and after settling in Paris, won the Mirlinton cabaret, the old Chat Noir, and later in a cafe-concert located in the Boulevard Beaumarchais. He became one of the mythical figures of the Parisian world (he was portrayed by the painter Toulouse-Lautrec) and one of the first singers, poets. Stressed for the originality of his compositions and soon reached a great popular success. Published two collections of songs he played: Dans la rue: chansons et monologues (1889-1909) and His the route / 1897). Wrote brochures and a dictionary of slang terms Parisian argot entitled L'au XXe siècle. Its success in your business also enabled him to devote more serious occupations and was part of several literary societies. Bruant also received the degree of Knight of the Order of Agricultural Merit of France.
Author: Toulouse Lautrec
Date: 1896
Museum: Private Collection
: 79 x 57.5 cm.
Material: Lithograph
Style: Neo-Impressionism This poster would serve to advertise the magazine "La Vache Enragée" whose first issue was published on March 11, 1896. Its founder was the illustrator A. Willette and its first director A. Roedel. The subject chosen by Toulouse-Lautrec for the poster is related to the title of the publication to choose a rabid cow running after a frightened man, pursued in turn by a gendarme. The sense of movement that occurs in the lineup would be related to the dynamism of the publication itself. Firmness line figures prominently in the composition while the colors are applied to spot, according to Japanese prints and posters in anticipation of the modernists.
Henri Marie Raymond de Toulouse-Lautrec-Montfa, Count of Toulouse-Lautrec-Montfa, known simply as Toulouse Lautrec Lautrec (Hôtel du Bosc, Albi, November 24, 1864 - Malromé, 9 September 1901) was a French painter and poster artist noted for his portrayal of the Parisian nightlife of the late nineteenth century. He was part of the generation of post-impressionism.
Castle was born in Albi in the heart of a noble family. In his family, as usual in many sagas of the great aristocratic marriages among relatives were made to avoid territorial divisions and the dispersion of wealth. This was the case of the parents of Henri, Count Alphonse de Toulouse-Lautrec-Montfa and Adele Tapie de Celeyran, who were first cousins. Inbreeding had to determine the health of the artist. Henri was the firstborn and when he was four, his brother Richard was born Constantine, who died a year later. For disagreements, his parents separated in 1868 and Toulouse-Lautrec was under the care of his mother.
His childhood was happy despite the fact that Toulouse-Lautrec suffered from a disease that affected development bone and began to move him in 1874. His constitution was weak bone and between May 1878 and August 1879, suffered two fractures in the femurs of both legs, which prevented him grow, reaching a height of 1.52 m. Career
ParísToulouse-Lautrec decided to be a painter, and with the support of his uncle Charles and a painter friends of the family, as Princetau, John Lewis Brown and Jean-Louis Forain, he moved to Paris in 1881. There, he studied with Leon Bonnat, who was a fashionable portrait painter, and, when Bonnat closed shop in September 1882, had to find a new master Fernand Cormon. In the study of Cormon befriended Vincent van Gogh. Inspection médica.En
1884 Henri went to live in the neighborhood of Montmartre, where he was overlooked as Degas. The fascination with the night entertainment premises led to haunt them regularly and become a regular at some of them as the Salon de la Rue des Moulins, the Moulin de la Galette, the Moulin Rouge, Le Chat Noir or the Folies Bergère . Everything about this world, including prostitution, was one of the main themes in his work. In his works of the underworld of Paris painted the actors, dancers, prostitutes and bourgeois. A painted them while they changed, when they had just each service or waiting for a medical inspection.
Unlike the Impressionists, barely interested in the landscape genre, preferring enclosed spaces, illuminated by artificial light, which allowed him to play with colors and frames subjectively. Very observant, he was attracted by the gestures of the singers and comedians, and he liked to mock the hypocrisy of the powerful, who loudly rejected the same vices and environments that tasted private.
cabaret owners asked him to draw posters to promote their shows, which Lautrec was very excited because in his long nights in these places drew everything he saw and he left the tables. Unlike Vincent van Gogh, he sold works and was recognized, although its popularity lies in his illustrations for magazines and billboards rather than oil paint.
had good friends such as dancer Jane Avril, to which he devoted several paintings and posters. Dancers met Valentin recognized as the disjointed, clowns and other characters of festivals and shows in the suburbs. This scene of vice and extravagance was a haven for Lautrec, who felt rejected by the nobility to which he belonged by origin. His disability caused rejection in the chic salons, and Montmartre could go unnoticed and wreak his bohemian. He criticized those who reflect landscapes in his paintings, as he believed that what was really worth individuals, the people. He considered himself a social chronicler and mixed, and was painted like the people. Oscar
Wilde.Tenía big problems with alcohol, often derived in madness. Also contracted syphilis.
In 1886 Cormon left the studio and rented his own. In the 90's he traveled to London where he met and portrayed Oscar Wilde.
alcoholism deteriorated his health. And from 1897 suffered from mania, depression and neurosis, as well as attacks of paralysis in the legs and side. In 1897 had to be collected from the streets because of a drunk and a little later delirium tremens was a shooting at the walls of his house thinking they were full of spiders. But she continued to paint on a hard and fast, but returned to pick up drunk in 1899 and interned in a mental hospital. They made a collection of paintings on the circus.
let him go home to her mother's possessions in it near Bordeaux, and the September 9, 1901 died lying in her bed.
In 1922 his mother and his handler opened the Toulouse-Lautrec Museum in the Palacio de la Berbie, Albi, most visited and recognized for their extensive collection.
Obral Toulouse-Lautrec's work is characterized by his photographic style, which correspond spontaneity and the ability to capture movement in her scenes and characters, with his very distinctive style. This is compounded by the originality of his framing influence of Japanese art, which manifests itself in the diagonal compositional lines and the sudden cut of the figures at the edges. He had a photographic memory and painted very quickly. However, his first influence was the impressionist painting, and above all, the figure of Degas, who went away from urban issues interpreting landscapes Monet or Renoir. Was the vanguard of modernism and Art Nouveau.
addition to oil painting, Henri used other techniques and other media in his work, emphasizing the production of posters.
Author: Toulouse Lautrec
Date: 1895
Museum: Art Museum (San Diego)
Features: 126'7 x 89'6 cm.
Material: Lithograph
Style: The famous editor and patron Thadée Natanson commissioned in 1895 that Toulouse-Lautrec poster for advertising your magazine La Revue Blanche "which served as a fundamental reference point of poetic symbolism. The model used by Henry was the wife of the editor, Misia Godebska, muse of the avant-garde literary salon of the nineteenth century's most important. The poster look reminiscent of May Belfort although in this case the figure is more Misia tilted and wear a blue suit. The influence of Japanese prints is a constant in this type of work, especially the flatness of the figures. The decorative aspect of the image is also Japan's heritage of lithography, later serving as a model for the modernists.
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