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    Toulouse-Lautrec
    Toulouse-Lautrec
    Toulouse-Lautrec
    Ebook107 pages36 minutes

    Toulouse-Lautrec

    By Nathalia Brodskaya

    4.5/5

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    About this ebook

    Lautrec studied with two of the most admired academic painters of the day, Léon Bonnat and Fernand Cormon. Lautrec’s time in the studios of Bonnat and Cormon had the advantage of introducing him to the nude as a subject. At that time life-drawing of the nude was the basis of all academic art training in nineteenth-century Paris. While still a student, Lautrec began to explore Parisian nightlife, which was to provide him with his greatest inspiration, and eventually undermined his health. Lautrec was an artist able to stamp his vision of the age in which he lived upon the imagination of future generations. Just as we see the English court of Charles I through the eyes of van Dyck and the Paris of Louis-Philippe through the eyes of Daumier, so we see the Paris of the 1890s and its most colourful personalities, through the eyes of Lautrec. The first great personality of Parisian nightlife whom Lautrec encountered – and a man who was to play an important role in helping Lautrec develop his artistic vision – was the cabaret singer Aristide Bruant. Bruant stood out as an heroic figure in what was the golden age of Parisian cabaret. Among the many other performers inspiring Lautrec in the 1890s were the dancers La Goulue and Valentin-le-Desossé (who both appear in the famous Moulin Rouge poster), and Jane Avril and Loïe Fuller, the singers Yvette Guilbert, May Belfort and Marcelle Lender, and the actress Réjane. Lautrec was, along with Degas, one of the great poets of the brothel. Degas explored the theme in the late 1870s in a series of monotype prints that are among his most remarkable and personal works. He depicts the somewhat ungainly posturing of the prostitutes and their clients with human warmth and a satirical humour that brings these prints closer to the art of Lautrec than anything else by Degas.
    However, the truthfulness with which Lautrec portrayed those aspects of life that most of his more respectable contemporaries preferred to sweep under the carpet naturally caused offence. The German critic Gensel probably spoke for many when he wrote: “There can of course be no talk of admiration for someone who is the master of the representation of all that is base and perverse. The only explanation as to how such filth – there can be no milder term for it – as Elles can be publicly exhibited without an outcry of indignations being heard is that one half of the general public does not understand the meaning of this cycle at all, and the other is ashamed of admitting that it does understand it.”
    LanguageEnglish
    PublisherParkstone International
    Release dateDec 22, 2011
    ISBN9781781606049
    Toulouse-Lautrec

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      Book preview

      Toulouse-Lautrec - Nathalia Brodskaya

      Author: Nathalia Brodskaya

      Layout:

      Baseline Co. Ltd.

      61A-63A Vo Van Tan

      4th Floor

      District 3, Ho Chi Minh City,

      Vietnam.

      © Confidential Concepts, worldwide, USA

      © Parkstone Press International, New York, USA

      All rights reserved

      No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

      ISBN: 978-1-78160-604-9

      Nathalia Brodskaya

      Henri de

      Toulouse-Lautrec

      Table of content

      1. May Milton, 1895

      2. Lautrec with His Friends Claudon and Nussez in Oriental Fancy Dress, ca. 1884.

      3. La Revue blanche, 1895

      BIOGRAPHY

      LIST OF ILLUSTRATIONS

      1. May Milton, 1895.

      Oil and pastel on cardboard, 66.1 x 49.4 cm.

      The Art Institute of Chicago,

      bequest of Mrs Kate L. Brewster.

      ‘You know, if one were a Frenchman, or dead, or a pervert – best of all, a dead French pervert – it might be possible to enjoy life!’ laments frustrated and unsuccessful artist in an illustration in the German satirical magazine Simplicissimus issued in 1910. He is endeavouring to paint while his domestic life crowds in on him from every direction: children run about screaming, toys lie scattered on the floor, and his wife is hanging up washing on a line stretched across his studio. The idea that genius and domesticity are incompatible with one another was hardly new, but the artist’s comment shows how quickly the turbulent lives and premature deaths of Henri de Toulouse-Lautrec and Paul Gauguin had entered popular mythology. Lautrec, who died aged thirty-seven in 1901, Gauguin, who died aged fifty-five in 1903, and the Dutch-born but French-by-adoption Vincent van Gogh did more than any others to colour popular ideas about the ‘artist’ in the twentieth century.

      Although the notion of the artist as a self-destructive outsider reached its peak at the end of the nineteenth century with Lautrec, Gauguin and van Gogh, its origin can be traced back to the late eighteenth century when political, cultural and economic revolutions transformed the way artists saw themselves and their relations with the world around them. In 1765, under the ancien régime, the pastel artist Maurice Quentin de La Tour depicted himself as an aspiring courtier, with powdered

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