Posters were intended to generate buzz for a fickle and distractible clientele who chose to attend an event based on whether or not they liked the poster.
Toulouse-Lautrec had everything it took to generate interest in these venues: colorful, eye-catching, dynamic forms that captured the essential characteristics of the venue and its performers. Future venues hung his advertising posters by the thousands, and they became collector's items during his lifetime. Once business owners knew how good he was, Toulouse-Lautrec, who wasn't exactly hard up for money to begin with, had an unlimited supply of work.
He essentially had the ideal job: he could pick and choose what performances he wanted to go to, usually admission-free. He continued generating posters for the Moulin Rouge, and was a VIP at virtually any other performance in Paris that struck his fancy: circus acts, the Jardin de Paris and other nightclubs.
He was also a regular at the city's brothels where he availed himself of the services of the prostitutes, who treated their customer with a level of kindness and humanity to which he was unaccustomed. He reciprocated with financial generosity and a series, Elles that affords a level of human insight into the business of prostitution that is unavailable in any other study from the period. He moved into these establishments for short periods of time, raising eyebrows among those in the know when the artist gave out his address.
An occasional prostitute who modeled for and also took art lessons with Toulouse-Lautrec was Suzanne Valadon, who moved on to a significant career as a visual artist. Toulouse-Lautrec died in , a few weeks shy of his 37 th birthday. The cause was probably alcoholism and syphilis. While he suffered terribly, Toulouse-Lautrec wasn't one to feel sorry for himself, and neither should we. Part of the deep pleasure of looking at his work is the manner in which it acknowledges the value of our time.
Like a passerby on the street, even if we have only a second to look, we get something out of it. In his brilliant, graphic line that never stops moving, what comes through is his zest for life. Toulouse-Lautrec's career coincided with the expansion of the urban middle class - people with money to spend on entertainment, but who weren't part of high society. He anticipated and shaped the needs of this audience and his style began to make an impact during his lifetime, inspiring the exaggerated outlines, languid, organic forms and script writing that appeared in the Art Nouveau movement.
He is one of the pillars holding up the rest of modern art. Toulouse-Lautrec's celebration of consumer culture and iconic popular advertisements paved the way for Pop art. In addition his portrayals fueled the obsession with superstars that persists today think Nicki Minaj, Justin Bieber, Madonna, Miley Cyrus - the list goes on and on.
One further aspect of Toulouse-Lautrec's achievement deserves special attention. Despite the celebrated freedom and individualism of modern art, few artists of any period have been able to overcome social prejudice. While rubbing elbows with the riffraff was an acceptable, even encouraged, rite-of-passage among avant-garde artists, Degas , Manet , and Van Gogh maintained a certain aloofness from their working-class subjects.
He never grows taller than 1. Henri stays in Nice from January to March. Since , Henri has created some drawings using a variety of techniques. This is when he decides to become an artist. With the support of Princeteau and his uncle Charles, he eventually talks his mother round. In March, he leaves for Paris to study the Arts.
He works in Princeteau's studio where he meets the painter Jean-Louis Forain. After Bonnat's studio closes in September, Henri, like most of his fellow student's, studies with Ferdon Cormon in his studio at 10 rue Constance.
Lautrec has his first relationship with Marie Charlet, a 17 year-old "model", but there is no proof Meets Edgar Degas, whose studio is in the house next door until , and holds a great admiration for him.
After that, Henri lives and paints at his friend Rachou's house, at 22 rue Canneron, and then with Gauzi, at no. Takes part in his first collective exhibition in Pau. He meets Van Gogh in Cormon's studio and they become friends.
He leaves Cormon's studio in the autumn and rents a studio at no. This is where he meets Suzanne Valadon, who models for him. She is his mistress until she attempts suicide in La Blanchisseuse. Lives with doctor Henri Bourges at no. Takes part in a collective exhibition in Toulouse in May under the assumed name of "Treclau", an anagram of Lautrec. Develops an interest in coloured Japanese prints. Portrait de Vincent Van Gogh. Belgian critic Octave Maus invites him to present eleven pieces at the "Vingt" the Twenties exhibition in Brussels in February.
Lautrec spends his autumn in Villiers-sur-Morin. Spends the summer in Arcachon. The Moulin Rouge opens on 90 boulevard de Clichy on the 5th October. Lautrec becomes a regular. He has a table reserved and displays his work there. Scandal breaks out when Lautrec defends Van Gogh and challenges H. The duel doesn't take place. Spends the summer in Taussat, a seaside resort. Trips to Biarritz and San Sebastian.
Lautrec meets Jane Avril. Moves in to the house next door, no. Lautrec makes his first engravings. Creates "A la Mie", and the notorious Moulin-Rouge poster that makes him famous overnight amongst the elite of Paris. Goes to Brussels in February for an exhibition, and to London at the end of May. Spends the end of the summer in Taussat. Modern physicians attribute this to an unknown genetic disorder, possibly pycnodysostosis also sometimes known as Toulouse-Lautrec Syndrome , or a variant disorder along the lines of osteopetrosis, achondroplasia, or osteogenesis imperfecta.
Rickets aggravated with praecox virilism has also been suggested. His legs ceased to grow, so that as an adult he was only 1.
He is also reported to have had hypertrophied genitals. Physically unable to participate in most of the activities typically enjoyed by men of his age, Toulouse-Lautrec immersed himself in his art.
He became an important Post-Impressionist painter, art nouveau illustrator, and lithographer; and recorded in his works many details of the lateth-century bohemian lifestyle in Paris. Toulouse-Lautrec also contributed a number of illustrations to the magazine Le Rire during the mids.
Toulouse-Lautrec was drawn to Montmartre, an area of Paris famous for its bohemian lifestyle and for being the haunt of artists, writers, and philosophers. Tucked deep into Montmartre was the garden of Monsieur Pere Foret where Toulouse-Lautrec executed a series of pleasant plein-air paintings of Carmen Gaudin, the same red-head model who appears in The Laundress When the nearby Moulin Rouge cabaret opened its doors, Toulouse-Lautrec was commissioned to produce a series of posters.
Thereafter, the cabaret reserved a seat for him, and displayed his paintings. Among the well-known works that he painted for the Moulin Rouge and other Parisian nightclubs are depictions of the singer Yvette Guilbert; the dancer Louise Weber, known as the outrageous La Goulue "The Glutton" , who created the "French Can-Can"; and the much more subtle dancer Jane Avril.
Toulouse-Lautrec spent much time in brothels, where he was accepted by the prostitutes and madams to such an extent that he often moved in, and lived in a brothel for weeks at a time. He shared the lives of the women who made him their confidant, painting and drawing them at work and at leisure. Lautrec recorded their intimate relationships, which were often lesbian. A favourite model was a red-haired prostitute called Rosa la Rouge from whom he allegedly contracted syphilis.
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