Evening star., 1938-12-18

Daumier and who led a life of
astounding unorthodoxy for a man
Of his class and station.
An inherent physical frailty can
perhaps be traced as the warping
influence Of Lautrec's abbreviated
life. In his youth he suffered sew
eral minor accidents damaging his
legs, which refused to heal effectively
and eventually stopped developing
at all. Before this time he had
talent for sketching in caricature,
was also lover Of outdoor activity.
The physical impairment, running,
of course, any possibility for healthy
physical development, embittered
Lautrec Though seldom morbidly
500 and is pointed out as the in
fiuence which ultimately bent the
man with his immense energy to-
ward the graphic arts. At the same
time with as much vigor and de-
termination, he turned to an exist
ence of dissipation with the same
ostensible purpose of forgetting his
mlSfortunately groteSque appear
ance, abetted, in addition to stunted
legs, by a large nose, bushy beard
and thick-lensed Spectacles.
Lautrecs inebriacy was appalling.
Coupled with hours of sleeplessness
and activity among the brothels and
cafes. concerts Of Montmartre, the
drinking habit, small wonder,
brought premature end 81 years
after his birth in 1865. These
highly productive and erratic years
of his life constitute a story of rich
color, especially under Mr.. Macks
treatment. Notorious Montmartre
at its notoriously widest was the
favorite environment of Toulouse
Lautrec. For this was the heyday
OF AriStide Bruant, Jane Avril,
Yvette Guilbert, La Goulue and
host Of others who lent support to
the reputation of the sector.
1t was 10 the lush, teeming sur
roundings Of the vastly popular
night spots" that Lautrec ran with
open arms, convivial and noisy
with the crowds, privileged and re-
spected by the people of influence
and Importance. In this element he
sketched, painted, designed the
motley droVes of habitues and per-
formers. Most of his illustrated
posters, acclaimed today as then, as
landmarks of their genre, portray
scenes from the favorite entertain
ment centerS. The work executed
OF these places is some of his best.
He catches the essence of the char
acter and spirit OF the lowest bawd,
the most hopeless brothel inmate,
the gayest dancer, the typical upper
class habitue-transfers them i'm
personally, without moral preach
ment, to his medium. Lautrecs
utter detachment from the state
of his studies comprises in itself
an authoritative record of an era.
Not even constant dissipation could
dim the genius that flowed from
Lautrec.
BY no means were all Of Lau-
trees efforts spent on cafe inhabi-
tants. A great part of his output
features equally excellent character
portrayals of doctors, acrobats,
sportsmen. People as they really
were interested the artist, and he
painted them as he found them.
From the variety of his studies it
can be seen that Toulouse-Lautrec
was strictly independent by nature.
He never worked by commission;
maintained the right to paint what
he wished when he wished. Since
he was in a financial position to
do this, he frequently took rest cures
at summer resorts, Travelled about
Europe as well, whenever the mood
dictated. But apparently, with
ironic philosophy, he was striving
to kill himself with extremities of
debauchery; shortly after release
from an asylum he succeeded in
doing so. He painted Ss long as his
poor legs could support his weight.
j. s.