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Toulouse Lautrec: 310 Plates
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Henri de Toulouse-Lautrec is best known as a chronicler of the nightlife of late 19th century Paris. He used to frequent the nightclubs and cafés of Montmartre, befriending the dancers and prostitutes, making countless sketches as they comb their hair or just lie in bed. Toulouse-Lautrec did not picture the world of the dancers and prostitutes from outside: he just lived in that world. From time to time he rented a room in a brothel, where he made drawings of the prostitutes and their clientele. With only a few pencil strokes Toulouse-Lautrec renders a mood and a character. The men in his drawings and posters are often caricatures of power with large protruding chins and noses and big fat faces. By contrast his women are drawn with much warmth and empathy.
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Book preview
Toulouse Lautrec - Maria Peitcheva
Toulouse Lautrec:
310 Plates
By Maria Peitcheva
First Edition
*****
Toulouse Lautrec: 310 Plates
*****
Copyright © 2016 by Maria Peitcheva
Foreword
Toulouse-Lautrec was the son of a wealthy nobleman, a direct successor of the counts of Toulouse. His eccentric father lived in provincial luxury, hunting with falcons and collecting exotic weapons.
Toulouse-Lautrec fell and broke both legs when he was a child. His legs did not heal properly; his torso developed normally, but his legs were permanently deformed. His stunted growth has traditionally been seen as the result of this accident, but more recently doctors have theorized that it may have been the result of a rare genetic abnormality.
He showed an early gift for drawing. Encouraged by his first teachers, the animal painters Rene Princeteau and John Lewis Brown, Toulouse-Lautrec decided in 1882 to devote to painting, and that year he left for Paris, where he studied with Bonnat and Cormon and set up a studio of his own when he was 21. He settled in Montmartre, where he stayed from then on.
Toulouse-Lautrec habitually stayed out most of the night, frequenting the many entertainment spots about Montmartre, especially the Moulin Rouge cabaret, and he drank a great deal. His loose living caught up with him: he suffered a breakdown in 1899, and his mother had him committed to an asylum at Neuilly. He recovered and set to work again. He died on Sept. 9, 1901, at the family estate at Malrome.
As a youth he was attracted by sporting subjects and admired and was influenced by the work of Degas. He admired and was influenced by Japanese prints. His own work is, above all, graphic in nature, the paint never obscuring the strong, original draftsmanship. He detailed the music halls, circuses, brothels, and cabaret life of Paris with a remarkable objectivity born, perhaps, of his own isolation. As an observer and recorder of aspects of working-class women's life and work (washerwomen, prostitutes, dancers, singers) he ranks with Daumier, Degas, and Manet.
His garish and artificial colours, the orange hair and electric green light of his striking posters, caught the atmosphere of the life they advertised. Toulouse-Lautrec's technical innovations in colour lithography created a greater freedom and a new immediacy in poster design. His posters of the dancers and personalities at the Moulin Rouge cabaret are world renowned and have inspired countless imitations.
After a life of enormous productivity (more than 1,000 paintings, 5,000 drawings, and 350
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