At the Moulin Rouge | The Art Institute of Chicago The Art Institute of Chicago 48 7/16 x 55 1/2 in. (123 x 141 cm) Stamped lower left with monogram Helen Birch Bartlett Memorial Collection , 1928.610 Because of childhood injuries that left his legs crippled, Henri de Toulouse-Lautrec often felt left out of the aristocratic world into which he had been born and lived at times on the margins of society. He frequented the Moulin Rouge, a famous Parisian nightclub named for the red windmill on its roof. In this painting of the club, he depicted many of his friends and favorite entertainers. In the background , La Goulue, the Moulin Rouge’s reigning dance star, adjusts her red hair while the dwarfish Toulouse-Lautrec and his tall cousin, Gabriel Tapié de Céléyran, walk toward the left. The glum assembly of characters seated around the table includes writer Edouard Dujardin, entertainer La Macarona, photographer Paul Sescau, winemaker Maurice Guibert, and another redhead, perhaps entertainer Jane Avril.

The woman with the green face illuminated by artificial light is May Milton, another popular dancer of the day. Toulouse-Lautrec’s Post-Impressionist style is a highly personal combination of the Impressionists’ interest in contemporary subject matter and his own expressionistic color and line. The eerie green light of the interior evokes an unhealthy atmosphere. The artist then added to the visual drama by using different lines, such as the curving silhouette of La Goulue fixing her hair, the collar of Avril’s coat, and the outline of Milton’s sleeve. These lines contrast with the strong diagonals of the banister and the floorboards, which rush forward toward the viewer, enhancing the lively mood of the decidedly worldly setting. Moulin Rouge, Posters and Prints at Art.com > shop > Places > World Regions > Europe > European Nations > France > Browse France > Paris > Moulin Rouge Moulin Rouge (139 Items) SWITCH TO VISUAL MODE What's this?You are browsing art in Classic Mode. To try our new experience where you can expore categories visually and discover art using advanced color searching, switch to Visual Mode.

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lin Rouge',PODConfigID:0,APNum:1370605,AvailableInOtherSizes:'true',ItemDisplayTypeID:43,Source:'GalleryPage'} Ship TimeShip time indicates the typical number of business days it takes for your item(s) to leave our facilities but does not include transit time from our facilities to the final destination.Orders that contain multiple items with different ship times will be shipped out based on the item with the longest ship time.Please note: Ship time is determined based on the method of payment chosen.This item cannot be framed Add to Cart Works by independent artists on Wonders of Paris Philadelphia Museum of Art - Collections Object : At the Moulin Rouge: The Dance Additional information: Philadelphia Museum of Art: Handbook of the Collections A recently discovered penciled inscription, in the artist's hand, on the back of this famous painting reads: "The instruction of the new ones by Valentine the Boneless." Henri de Toulouse-Lautrec was thus not depicting an ordinary evening at the Moulin Rouge, the fashionable Parisian nightclub but rather a specific moment when a man now known only by his nickname (which certainly describes his nimbleness as a dancer) appears to be teaching the "can-can." Many of the inhabitants of

 the scene are well-known members of Lautrec's demimonde of prostitutes and artists and people seen only at night including the white-bearded Irish poet William Butler Yeats who leans on the bar.

One of the mysteries, however, is the dominant woman in the foreground, the beauty of her profile made all the more so in comparison with that of her chinless companion. It is the latter who expresses better than nearly any other character in this full stage of people Lautrec's profoundly touching ability to be brutally truthful but also truly kind in his observations. Joseph J. Rishel, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 206. Provenance Joseph Oller, Paris, 1890, until at least 1893. With Paul Rosenberg, Paris [1]; S. Sévadjian; his sale, [as M. S... S...], Hôtel Drouot, March 22, 1920, no. 17; purchased by Arnold Seligmann of Arnold Seligmann & Cie., Paris, and still in 1925 [2].

Possibly with Paul Rosenberg, c.1926 [3]; with Arnold Seligmann & Cie., Paris, by 1928, to 1934 [4]; Seligmann estate, as of February 1934 [5]; sold to Henry P. McIlhenny, Philadelphia (possibly via Jacques Seligmann & Co.), by June 1934 [6]; bequest to PMA, 1986. 1. Per M. G. Dortu, Toulouse-Lautrec et son oeuvre, vol. 2, New York, 1971, no. P.361. Oller and Charles Zidler were co-owners of the Moulin Rouge in Paris. Zidler, the Moulin Rouge director, placed the painting on permanent exhibit there from 1890-1893. See Richard Thomson, Toulouse-Lautrec (exh. cat., Hayward Gallery, 1991), pp. 229, 246. 2. Clipping (Gazette de l'Hôtel Drouot) and annotation in Getty copy of sale catalogue.

Arnold Seligmann was the lender to the exhibition Paris, Musée des Arts Décoratifs, "Cinquante ans de peinture française, 1875-1925," May 28-July 12, 1925, no. 77. 3. Rosenberg is listed as the owner in Maurice Joyant, Henri de Toulouse-Lautrec, 1864-1901, Paris, 1926, p. 268. Possibly a mistake based on Rosenberg's earlier ownership, as Seligmann is documented as owner in 1925 and from 1928-1934. 4. Seligmann loaned the painting to a 1928 Paris exhibition (see also partial label on reverse). 5. The painting was lent to the exhibition "Paintings and Drawings by Toulouse-Lautrec," London, M. Knoedler & Co., February 1-21, 1934, by the Seligmann estate. 6. McIlhenny lent the painting to the PMA in June 1934.

He writes in a letter to Martin Birnbaum dated July 17, 1934 (copy in curatorial file) that he had recently acquired the painting from the estate of Arnold Seligmann. In a letter to his insurance agent dated May 6, 1935 (copy in curatorial file), McIlhenny states that the painting was purchased from the dealer Jacques Seligmann (the firm founded by Arnold Seligmann's brother, who died in 1923), who presumably acquired it from the Arnold Seligmann estate. * Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. At the Moulin Rouge by Henri de Toulouse-Lautrec Facts & History At the Moulin Rouge by Henri de Toulouse-Lautrec was painted from 1892 to 1895 and is oil on canvas. It is currently on display at the Art Institute of Chicago Background Henri de Toulouse-Lautrec painted this to show the Moulin Rouge cabaret that was popular in Paris.

The people in the painting actually worked at the cabaret when it was painted. Appearance In the painting are many people, from men sitting at tables to mademoiselles getting their girls ready. Some people are enjoying beverages while others are standing up and talking. One important person in the painting is Mademoiselle Nelly C, who is in the right foreground. Even Lautrec is present in the painting near the background with Gabriel Tapié de Céleyran. The walls are brown and teal color and there are brown chairs that can be seen as well. Everyone is dressed nicely, either in suits or long dark dresses with hats. Leave a Reply At the Moulin Rouge | The Art Institute of Chicago Possibly, Paris, Les XX, January 1892, as Nocturne [see Murray 1980]. Paris, Boussod et Valadon, 1893 [according to Toulouse-Lautrec 1991-92]. Paris, Le Barc de Boutteville, 7e Exposition des peintures impressionnists et symbolists, July 1894, cat. 84, as Un Coin du Moulin Rouge.

Paris, Salon des Indépendants (March 29-May 5, 1902), not in catalogue [see Heller 1986]. Paris, Galerie Manzi-Joyant, Exposition Retrospective de l’Oeuvre de H. de Toulouse-Lautrec, June-July 1914, cat. 32. Paris, Galeries Paul Rosenberg, Exposition d’oeuvres de Toulouse-Lautrec, 1914, cat. 19. Barcelona, Palacio de Bellas Artes, Salon des Artistes Français, 1917, cat. 2038. The Arts Club of Chicago, Catalogue of an Exhibition of Paintings by Henri de Toulouse-Lautrec, December 1924-January 1925, cat. 7. Paris, Grand Palais, Trente ans d’Art Indépendant, 1926, cat. 3253. Amsterdam, Stedelijk Museum, Cent Ans de Peinture Française, April-May 1928. New York, M.

Knoedler & Co., A Century of French Painting, 1928, cat. 34 (ill.). Art Institute of Chicago, Loan Exhibition of Paintings, Drawings, Prints and Posters by Henri de Toulouse-Lautrec, December 23, 1930-January 18, 1931, cat. 19 (ill). New York, Museum of Modern Art, Tenth Loan Exhibition: Lautrec-Redon, February-March 1931, cat. 19 (ill.). Paris, Musée des Arts Décoratifs, Exposition H. de Toulouse-Lautrec, April-May 1931, cat. 92, pl. 5. The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 371, pl. 63. The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 325.

Toledo, Ohio, Museum of Art, French Impressionists and Post-Impressionists, November 1934, cat. 22. Pittsburgh, Carnegie Institute, A Survey of French Painting, April-May 1936, cat. 33. Cleveland Museum of Art, Twentieth Anniversary Exhibition, The Official Art Exhibit of the Great Lakes Exposition, June-October 1936, cat. 344, pl. 68. New York, M. Knoedler & Co., Toulouse-Lautrec, Paintings, Drawings, Posters, November-December 1937, cat. 11 (ill.). New York, Century Club, Post-Impressionist Painting, February-April 1949. Paris, Musée de l’Orangerie, De David a Toulouse-Lautrec, Chefs d’Oeuvres des Collections Americaines, April-July 1955, cat. 54, pl. 84. Philadelphia Museum of Art, Toulouse-Lautrec (organized with the Albi Museum), October 29-December 11, 1955, cat.

38 (ill.), traveled to The Art Institute of Chicago, January 2-February 15, 1956. New York, Museum of Modern Art, Toulouse-Lautrec, Paintings, Drawings, Posters and Lithographs, March 20-May 6, 1956, cat. 19 (ill.). Art Institute of Chicago, Toulouse-Lautrec: Paintings, October 4-December 2, 1979, cat. 52. Amsterdam, Van Gogh Museum, , Light: The Industrial Age 1750-1900: Art and Science, Technology and Society, October 2000-February 2001, traveled to Pittsbugh, Carnegie Museum of Art, April-July 2001, no cat. no. (ill.), shown in Pittsburgh only. National Gallery, Washington, D.C., Toulouse-Lautrec and Montmartre, March 20-June 12, 2005, cat. 66 (ill.), traveled to The Art Institute of Chicago, July 16-October 10, 2005.

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 62 (ill.). London, Courtauld Institute of Art, Toulouse-Lautrec and Jane Avril: Beyond the Moulin Rouge, June 16- September 18, 2011. cat. 6. Paris, Musée d'Orsay, Splendour and Misery, Images of prostitution in France, 1850-1910 < Splendeurs & misères, Images de la prostitution, 1850-1910> September 21, 2015-June 19, 2016. Please note that Toulouse-Lautrec, At the Moulin Rouge (1928.610) was not in Amsterdam, Van Gogh Museum, same exhibition but title " Easy Virtue. Prostitution in French Art, 1850-1910, February 19, 2016-June 19, 2016.

Publication History A. Alexandre, Le Figaro Illustré 22 (April 1902), pl. 21, no. 145. G. Geffroy, “Henri de Toulouse-Lautrec,” Gazette des Beaux-Arts 12 (1916), p. 100 (ill.). G. Coquiot, Lautrec (Paris, 1921), p. 109. Achille Astre, H. de Toulouse-Lautrec (Nilsson, 1925), p. 75. H. E. Schnackenberg, “New York Exhibitions,” The Arts 7 (1925), p. 159 (ill.). Maurice Joyant, Henri de Toulouse-Lautrec, Peintre (Paris, 1926), vol. I, pp. 137-138 (ill.), 275, vol. II, p. 7 (ill.), 247. Maurice Joyant, “Toulouse-Lautrec,” L’Art et les Artistes 14 (1927), pp.

159-160. Art Institute of Chicago, Annual Report (1928), ill. François Fosca, Lautrec, Les Albums d’Art Druet (1928), p. 1, ill. Morton Dauwen Zabel, “An American Gallery of Modern Painting,” Art and Archaeology 26 (December 1928), p. 236, ill. Paul de Lapparent, Toulouse-Lautrec, Masters of Modern Art (New York, 1928), pp. 27-29, pl. 8. Art News 26 (June 16, 1928), pp. 1-2. “Visiting the Art Galleries,” Arts-Décorations 30 (November 1928), p. 67 (ill.). Daniel Catton Rich, “Au Moulin Rouge,” Bulletin of The Art Institute of Chicago 23 (1929), pp. 13-15 (ill.). Art Work 17 (Spring 1929), p. 57, ill.

Bulletin de’Art Ancien et Moderne (1929), p. 176. Catalogue of The Birch Bartlett Collection (1929), pp. 36-37, ill. L’Art Vivant 6 (February 15, 1930) p. 157, ill. E. Tériade, “Jeunesse,” Cahiers d’Art 6 (1931), p. 21 (ill.). René Huyghe, “Aspects of Toulouse-Lautrec,” L’Amour de l’Art (April 1931), fig. 52. Robert Rey, “L’Exposition Toulouse-Lautrec,” Les Annales (April 15 1931), p. 377. J. J. Sweeny, “La Peinture Française Moderne a l’Institute des Beaux-Art de Chicago,” Cahiers d’Art 7 (1932), p. 336. Mac Orlan, Lautrec (1934), p. 180, ill.

Daniel Catton Rich, “A Note on Sharaku’s Influence in Modern Painting,” Bulletin of The Art Institute of Chicago 29 (1935), pp. 5-6 (ill.). C. J. Bulliet, The Significant Moderns and Their Life (New York, 1936), pl. 122. Josephine H. Logan, Sanity in Art (Chicago, 1937), p. 110 (ill.). Parnassus 9 (November 1937), p. 39 (ill. only) Gerstle Mack, Toulouse-Lautrec (New York, 1938), pp. 133, 234, 258, pl. 15. Jacques Lassaigne, Toulouse-Lautrec (London and New York, 1939), p. 18, no. 87 (ill.). T. Squire, “Toulouse-Lautrec ‘Au Moulin Rouge,’” Theatre Arts Monthly 22 (June 1938), pp. 435-438 (ill.). H. F.

Mackenzie, “Toulouse-Lautrec and The Moulin Rouge,” Bulletin of The Art Institute of Chicago 33 (1939), pp. 98-99 (ill.). J. Rinaldi, Toulouse-Lautrec (Buenos-Aires, 1942). R. Schoolman and C. E. Slatkin, The Enjoyment of Art in America (Philadelphia, 1942), pl. 551 (ill.). The Art Institute of Chicago, Modern Paintings in the Birch Bartlett Memorial from the Birch Bartlett Collection (Chicago, 1946), pp. 46-47 (ill.). Fr. Jourdain, Lautrec (1948), pl. 17. Walter Kern, Lautrec (1948), pl. 17. Daniel Catton Rich, Henri de Toulouse-Lautrec “Au Moulin Rouge” in The Art Institute of Chicago, Gallery Book 20 (London, 1949), ill. “Chicago Displays Lautrec Treasures,” Art Digest 23 (July 1, 1949), p. 10.

Life Magazine (1950), p. 248. Fr. Jourdain, Lautrec (1951), pl. 4 Art News 50 (June 1951), p. 20 (ill.). The Studio 41 (June 1951), p. 163 (ill.). American Artist 15 (November 1951), p. 57 (ill. only). B. Myers, “Symbolism,” American Artist 15 (November 1951), p. 57 (ill.). Fr. Jourdain and J. Adhémar, Lautrec (1952), p. 45. Design 53 (January 1952), p. 102 (ill. only). “Soirs de Paris,” Connaissance des Arts 8 (October 15, 1952), p. 39 (ill.) M. G. Dortu, Toulouse-Lautrec (Paris, 1952), p. 6, ill. Jacques Lassaigne, Le gout de notre temps–Lautrec (1953), p.

47, ill. Edouard Julian, Towards an Understanding of Toulouse-Lautrec (1953). Sam Hunter, Toulouse-Lautrec (1953), pl. 20. Pierre du Colombier, Toulouse-Lautrec (1953), pl. 20. “De David à Toulouse-Lautrec dans les Collections et Musées Americains,” Art et Style 34 (1955). Douglas Cooper, H. de Toulouse-Lautrec (New York, 1955), p. 97, ill. Art Institute of Chicago Quarterly 49 (April 1955), p. 30, ill. Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 36, ill. P. Courthion, Le gout de notre temps–Montmartre (Lausanne, 1956), p. 63. Herbert Asmodi, Toulouse-Lautrec–Moulin-Rouge (1956), pl. 30. Paris Journal (1958), ill.

“Moulin Rouge,” Daily Mail (February 3, 1961), ill. Paintings in the Art Institute of Chicago (Chicago, 1961), p. 454. Génies et Réalités, Toulouse-Lautrec (1962), pp. 94-95, ill. Frederick Sweet, “Great Chicago Collectors,” Apollo 84 (September 1966), pp. 196-197 (ill. p. 195, fig. 18). The WFMT Guide (November 1966), ill. Rodolfo Palluchini, “L’Art Institute di Chicago,” L’Illustrazione del Medico 33 (February 1966), pp. 14-15, fig. 9. Otto Dekom, “Chicago: Monument of Volunteer Giving,” Evening Journal (Wilmington Delaware, August 1, 1968), p. 29, ill. William Gaunt, Impressionism, a visual history (New York and Washington, 1970) p. 260, ill. p. 261, pl.

261. John Maxon, The Art Institute of Chicago (New York, 1970), p. 96 and 287. M. G. Dortu, Toulouse-Lautrec et son oeuvre (New York, 1971), vol. II, p. 258-259 (ill.), peinture no. 427. Der berühmstesten Gemälde der Welt (Bergish-Gladbach, 1976), pp. 172-172, ill. Richard Thompson, Toulouse-Lautrec (London, 1977), p. 68, ill. L’opera completa di Toulouse-Lautrec (Milan, 1977), p.106, no. 309, figs. 28-29. The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), pp. 118-119, no. 71. Gale B. Murray, “Review of M. G.

Dortu, ‘Toulouse-Lautrec et son oeuvre,’” The Art Bulletin 60 (March 1978), p. 181. Charles Stuckey, Toulouse-Lautrec: Paintings, exh. cat.(Chicago, 1979), pp. 186-188, no. 52, ill. Diane Kelder, The Great Book of French Impressionism (New York, 1980) p. 290. Gale B. Murray, “Henri de Toulouse-Lautrec: a checklist of revised dates, 1878-1891,” Gazette des Beaux Arts 95 (February 1980), p. 90. Daniel and Eugenia S. Robbins, Henri de Toulouse-Lautrec: a selection of works from The Art Institute of Chicago (Chicago, 1980), no. 3. Richard R. Brettell, “The Bartletts and the ‘Grand Jatte:’ Collecting Modern Painting in the 1920s,” Art Institute of Chicago Museum Studies 12 (1986), pp.

103-113. Reinhold Heller, “Rediscovering Henri de Toulouse-Lautrec’s ‘At the Moulin Rouge,” Art Institute of Chicago Museum Studies 12 (1986), pp. 115-135 (ill.). G. M. Sugana, Tout l’Oeuvre peint de Toulouse-Lautrec (Paris, 1986), p. 417. Richard R. Brettell, Post-Impressionists (Chicago, 1987), p. 45, ill. Master Paintings in the Art Institute of Chicago (Chicago, 1988), p. 70. Dominique Jarrassé, Henri de Toulouse-Lautrec-Monfa: Entre le mythe et la modernité (Paris, 1991), pl. 42. Toulouse-Lautrec, exh. cat. (Hayward Gallery, London, 1991-1992), pp. 266-268 (ill.). James Hall, “Into the limelight: Henri de Toulouse-Lautrec,” Apollo (December 1991) p.

424, ill. Lesley Stevenson, H. de Toulouse-Lautrec (London, 1991), pp. 58, ill., 73-74. Charles Stuckey, French Painting (New York, 1991), p. 193, ill. Patrick O’Connor, Nightlife of Paris: the art of Toulouse-Lautrec (New York, 1991). Guggenheim Museum: Thannhauser Collection (New York, 1992), n. p., ill. Connaissance des Arts, special number on Toulouse-Lautrec (1992), pp. 36-37, ill. Thomas Parsons, Post-impressionism: the rise of modern art (London, 1992), pp. 57, 72-73, ill. Gerard Durozoi, Toulouse-Lautrec (London, 1992), pp. 94-95, ill. Gale B. Murray, Toulouse-Lautrec: A Retrospective (New York, 1992), pl. 70.

Frank Milner, Toulouse-Lautrec (New York, 1992), pp. 92-93, ill. George H. Hamilton, Painting and Sculpture in Europe, 1880-1940 (New Haven, 1993), pp. 114-115, fig. 54. Duane Preble, Artforms: An Introduction to the Visual Arts (New York, 1994), p. 40, fig. 564. H. W. Janson, History of Art (New York, 1994, 5th edition; 1997, revised ed.), p. 752, ill. Riva Castleman, Toulouse-Lautrec: posters and prints from the collection of Irene and Howard Stein (Atlanta, 1998), p. 92, ill. David Sweetman, Explosive acts: Toulouse-Lautrec, Oscar Wilde, Félix Féneon and the art & anarchy of the fin de siècle (New York, 1999), pp.

282-285 (ill.), 286, 351, 354-355, 357-358, 491. Helen Gardner, Art Through the Ages (Fort Worth, 2001, eleventh ed.), pp. 914-915, fig. 29-31. Michael Laclotte, ed., The art and spirit of Paris (New York, 2003), vol. II, pp. 1171-1172, fig, 7.87. Julia Frey, Toulouse-Lautrec: A Life (London, 1994). The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 62, pp. 132-33 (ill.). Nancy Ireson, “Toulouse-Lautrec and Jane Avril: Capturing the Moment.” Toulouse-Lautrec and Jane Avril: Beyond the Moulin Rouge, Exh. cat. (The Courtauld Gallery, 2011), p. 11, p.

72-72, cat. 6. Marilyn McCully, “Picasso’s Discovery of Paris,” Eating Fire: Picasso in Paris 1900-1907 Exh. cat (Van Gogh Museum and Museu Picasso, 2011), p. 25-26, fig. 4. Musée d'Orsay, Splendeurs & misères, Images de la prostitution, 1850-1910, publisher Flammarion, Paris (Septembre 2015). Cette exposition a étè organisée par le musée d'Orsay, Paris et le Van Gogh Museum, Amsterdam, front cover detail, [232] p.249: Toulouse-Lautrec, At the Moulin Rouge (1928.610), [61] p.109:Toulouse-Lautrec, Moulin de la Galette (1933.458), and [100] p. 138-139 Courbet, Mérè Grégoire (1930.78).

Ownership History Maurice Joyant, executor of the artist's estate and co-director of Galerie Manzi-Joyant, Paris, by 1902 [according to Heller 1986]; sold to Manzi [according to Dortu 1971 and Heller 1986]. Jean Laroche, Paris, 1926. Paul Rosenberg [according to Dortu 1971]. Mssrs. Reid & Lefevre, London, June 1928. Frederick Clay Bartlett, Chicago; given to the Art Institute, 1928.

Add this item to: Henri de Toulouse-Lautrec: The French painter's 10 most famous works and facts about his life - Mirror Online News Henri de Toulouse-Lautrec: The French painter's 10 most famous works and facts about his life As a Google doodle celebrates his 150th birthday, here's everything you need to know about one fo the greats of French art Share Provocative: Toulouse-Lautrec's Salon at the Rue des Moulins (Photo: Wiki) Share Get daily updates directly to your inbox + Subscribe Thank you for subscribing! Could not subscribe, try again laterInvalid Email Today's Google doodle celebrates the 150th birthday of one of the most well-known French painters of the post-impressionist period, Henri de Toulouse-Lautrec. Even if you're not an art buff, you're bound to recognise his iconic paintings. His exciting and provocative images of bohemian life in Paris in the 1800s bring the city and period to life. As well as creating some of the most recognisable works in the history of French art, his short life saw him befriend Oscar Wilde and invent one of the world's notorious cocktails.

Here's everything you need to know about Henri de Toulouse-Lautrec and some of his greatest works. At the Moulin Rouge (1890) At the Moulin Rouge (1890) (Photo: Wiki) When the Moulin Rouge cabaret opened in 1889, Toulouse-Lautrec was commissioned to produce a series of posters. He didn't care that other artists looked down on such commercial work - they reserved a seat for him and his paintings were displayed prominently in the iconic venue. The Laundress (1889) The Laundress (1889) (Photo: Wiki) This painting set a new record when Christie's auction house sold it in 2005 for $22.4m. Toulouse-Lautrec, was an aristocrat - the first child of Comte Alphones de Toulouse-Lautrec-Monfa and Adele Tapie de Celeyran, and a descendent of counts and viscounts. He moved from Tarn in the Midi-Pyrenees region of southern France to Paris following the death of his infant brother and separation of his parents.

Marcelle Lender doing the Bolero in 'Chilperic' (1895) Marcelle Lender doing the Bolero in 'Chilperic' (1895) (Photo: Wiki) Actress Marcelle Lender was a favourite subject of Toulouse-Lautrec, who had a passion for theatre in all forms. Here she's seen performing in Herve's operetta Chilperic. Toulouse-Lautrec suffered from a number of congenital health issues - thought to have been a result of inbreeding in his aristocratic family. He fractured both of his thighs as a teenager, neither of which healed properly due to a genetic disorder. His legs stopped growing and remained child-sized while his torso developed normally. Portrait of Vincent van Gogh (1887) Portrait of Vincent van Gogh (1887) (Photo: Wiki) This pastel rendering, painted by Toulouse-Lautrec when he was 23, shows his 34-year-old friend Vincent van Gogh. The bright green and alarmingly potent spirit Absinthe became the creative fuel for the bohemian artists of the day.

It became known as "the queen of poisons", favoured by Lautrec, Picasso and van Gogh. Lautrec's physical appearance contributed to his suffering from alcoholism, and he's thought to have invented the notorious cocktail "Earthquake" - 3 parts Absinthe, 3 parts Cognac, over ice. Salon at the Rue des Moulins (1894) Salon at the Rue des Moulins (1894) (Photo: Wiki) In his 20-year art career, Toulouse-Lautrec was exceptionally prolific, creating 737 canvases, 275 watercolours, 363 prints and posters and at least 5,084 drawings - as well as ceramic and stained glass work. The girl at the front of this painting is Mireille, one of the prostitutes from the Rue d'Aboise brothel - where the painting is, in fact set, despite the title. It's the most famous of the dozens of paintings Lautrec made of Paris brothels.

La Goulue arriving at the Moulin Rouge (1892) La Goulue arriving at the Moulin Rouge (1892) (Photo: Wiki) La Goulue - whose real name was Louise Weber - was the most successful can-can dancer of her time. She was given her nickname, which means 'the glutton', because of her voracious appetite. She was the star of the Moulin Rouge and one of Lautrec's favourite subjects. Aristide Bruant in his cabaret (1892) Aristide Bruant in his cabaret (1892) (Photo: Wiki) Aristide Bruant was a singer, comedian and caberet artist - and a star of the Montmartre quarter of Paris, where Henri began showing up to his appearances. The two became friends and Lautrec painted this poster to advertise one of his cabaret clubs. Lautrec's paintings of Bruant are said to have 'unconsciously' influenced Doctor Who costume designer James Acheson's bohemian look for Tom Baker, the Fourth Doctor.

Moulin Rouge: La Goulue (1891) Moulin Rouge: La Goulue (1891) (Photo: Wiki) This poster, advertising La Goulue's appearances at the Moulin Rouge, is one of Toulouse-Lautrec's most recognisable works. Around 3,000 copies of this four-colour lithograph were produced, commissioned by the venue after a previous poster by Jules Cheret were considered too subdued. It was one of his earliest works to be seen widely, and boosted the profile of both the artist and Moulin Rouge. Reine de Joie (1892) Reine de Joie (1892) (Photo: Wiki) This poster of an elderly banker being entertained by a raven haired courtesan was created to promote a novel of the same name, which means 'Queen of Joy'. Toulouse-Lautrec took his talent for creating bold and exciting posters to London, where he made works advertising bicycles and confetti. While in London he met and befriended Oscar Wilde , whom he painted and supported during his trial.

Avril (Jane Avril) (1893) Avril (Jane Avril) (1893) (Photo: Wiki) Henri's alcoholism and wild lifestyle finally caught up with him when in 1889 he was placed in a sanitorium after a particularly violent bout of delerium tremens. He recovered and was released, but died in 1901 from complications due to alcoholism and syphilis at the age of 34. Most Read Most Recent Most Read Most Recent Tim Doud on Henri de Toulouse-Lautrec | Painters On Paintings Tim Doud on Henri de Toulouse-Lautrec PoP PoP Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892-1895, Oil on canvas, 48 x 55 inches I came to my artistic interests in a very particular fashion. I was born in New Bedford, Massachusetts a port town near Cape Cod. My parents married young – both had working class backgrounds and neither had an expansive knowledge of fine art. Early in their relationship, they had fuzzily romantic portraits painted of one another.

I always loved those paintings; even though they were officially bad art, they were my first reference to any kind of painting, as well as, to the significance art can have in a life. My dad, a career navy machinist, bought some small replicas of Michelangelo sculptures during one of his deployments – made with a material that dissolves if it gets wet. This was the art I grew up with. When I was in middle school, we relocated to rural, central Missouri. It wasn’t until I was a senior in high school, when the art students took a trip to the Nelson Adkins Museum in Kansas City, that I saw paintings in a museum. The first paintings I ever interacted with regularly were those bought and traded in the board game “Masterpiece”. “Masterpiece”: I had covetous relationships with many of the paintings in the game but two stand out. Rembrandt’s portrait Old man with a Gold Chain with the subject’s wonderful, lumpy, black cloaked, illogical body was one and, my favorite, Henri de Toulouse Lautrec’s At the Moulin Rouge.

My initial interests in At the Moulin Rouge were the large figure with an under-lit greenish face in the lower right hand corner of the painting and the dynamic composition. The scene was decadent and exotic to me as a teenager living in rural Missouri. The large figure is May Milton, a well-known dancer at the time and one of the subjects of the painting along with other notable nightclub denizens, including affluent men of different professions and the performers La Goulue and Jane Avril. The various portraits portray an insider’s view of the ostensibly bohemian nightlife and more importantly, the convergence of different lives. The painting includes a self-portrait, in the center of the composition, an important inclusion in the larger context of Toulouse-Lautrec’s work. The work employs a compositional device used frequently by Vermeer and Degas; figures interact behind a structure (in this case a table) that separates the viewer from the action in the painting. The formal obstruction indicates something about access and makes the viewer aware of her or his position as a viewer or voyeur – standing outside of the scene. The smears of mustard yellow, dark orange and blue green paint contribute to an atmosphere that further reflect Toulouse-Lautrec’s interest in abstraction.

The Moulin Rouge — known as a revue where the Can-Can dance emerged — was situated in the Montmartre district in Paris. Toulouse-Lautrec immersed himself in the colorful and theatrical environment around the Moulin Rouge. It was a nightclub meant to titillate and entertain. It was also a crossroads. Toulouse-Lautrec was one of a handful of post-impressionist artists known for conveying images of “Modern life” in their paintings. Toulouse-Lautrec conveyed his idea of “Modern life” through unsparing (although non judgmental) representations of the people to whom he was drawn. The paintings don’t necessarily flatter, nor do they necessarily reveal the individual. They do however reveal Toulouse-Lautrec’s position within an important moment in Parisian culture, and from his rarified point of entry. He pursued a form of realism that relates to the realist artist Millet: real people. Henri de Toulouse-Lautrec, At the Moulin Rouge (Detail) Toulouse Lautrec painted people he interacted with directly and often. The subjects of his paintings and drawings are generally at work.

These are performative, portraits conveying the spirit of the gender dynamic at the time – animated representations of women and, on the whole, uniformly dressed men. At the Moulin Rouge the women are lit, glowing, colorful – there isn’t a sensible, consistent light source; female figures are highlighted and animated by the light. On the other hand the men portrayed in the work have a different kind of visibility. They recede, adorned by women. His subjects could appear provocative, decadent or taciturn – depending on who you (as the viewer) are. Toulouse-Lautrec’s growth was stunted by an injury in childhood. His family wealth and access privileged him but health issues put him at odds with the aristocratic culture he was born into. His relationship to his sitters was direct – while he came from a different class he wasn’t living outside of the worlds he portrayed. He was between worlds. At the Moulin Rouge is a portrait of the convergence of Toulouse-Lautrec, the class he represented and the proletariat world of the Montmartre. He painted the people with whom he lived and worked. He wasn’t making a project or curiosity out of his subjects. His interest is an indication of a change in society.

While his relationships were authentic he could elect to move through this world of his own volition, and he did. At the Moulin Rouge is a snapshot of a romanticized moment in time – a place where bourgeois and aristocrats could gather and experience what might be called anti-bourgeois and anti-aristocratic plebian entertainment. *(1) Toulouse-Lautrec’s complex identity afforded him the opportunity to move among the people he painted, in some ways like a tourist, perhaps — but in the end he was not a tourist. He was a painter with an attraction to the colorful worlds that he could engage in as an artist– part documentarian, part connoisseur. In an essay published by the Art Institute of Chicago, author Reinhold Heller discusses the history of At the Moulin Rouge and gives and exhaustive account of the destruction and reconstruction of the painting. It seems that the painting was cut into two sections for a time. May Milton was cut out of the painting – maybe for commercial purposes. It seems that the melding of these classes of people was not something that could be easily sold.

Because of my own practice, I have an interest in the complicated and sometimes contradictory nature of artists’ relationships to their subjects and At the Moulin Rouge is at the center of this dynamic that continues to compel me as well as many other writers and critics (Kehinde Wiley’s 2015 Brooklyn Museum exhibition review in the Village Voice is a great example). We move quickly through influences as young artists, and have voracious appetites for work and artists who compel us. Some stick with us throughout our varied life experiences and travels. If we reflect on our interests long enough (and have the opportunity) we can begin to reimagine and make sense of some of those early, initial attractions. Thinking about painting reveals that there is always more than what is on the surface and the painting changes the viewer in this respect. The poet Rilke puts it this way: …For here there is no place that does not see you. You must change your life*(2).

Tim Doud, American Prize, 2014-2015, Oil on linen, 40 x 40 inches *1) Rediscovering Henri de Toulouse-Lautrec’s “At the Moulin Rouge” Author(s): Reinhold Heller and Henri de Toulouse-Lautrec. Source: Art Institute of Chicago Museum Studies, Vol. 12, No. 2, The Helen Birch Bartlett Memorial Collection (1986), pp. 114-135 Published by: The Art Institute of Chicago *(2)”Archaic Torso Of Apollo” – Poem by Rainer Maria Rilke Share this: Toulouse Lautrec Paintings of Nighthawks, and Oil Painting Reproduction Biography of Henri de Toulouse-Lautrec (1864-1901) Movement: Post-Impressionism, Art Nouveau Is often spelled as Toulouse Lautrec, Lautrec Toulouse, Henri Toulouse Lautrec, Toulouse Lautrec Henri, Henri Lautrec Toulouse, Henri Lautrec, Lautrec Henri, henry de Toulouse Lautrec, henry Lautrec.

Many immortal artists lived and worked in Paris during the late 19th century. They included Degas , Cézanne , Gauguin , Van Gogh , Seurat, Renoir , and Henri de Toulouse-Lautrec. The artist observed and captured in his art the Parisian nightlife of the period. Henri Lautrec Toulouse was born on Nov. 24, 1864, in Albi, France. He was an aristocrat, the son and heir of Comte Alphonse-Charles de Toulouse and last in line of a family that dated back a thousand years. His father was rich, handsome, and eccentric. His mother was overly devoted to her only living child. Toulouse artist was weak and often sick. By the time hewas 10, he had begun to draw and paint. At 12 young Toulouse-Lautrec broke his left leg and at 14 his right leg. The bones failed to heal properly, and his legs stopped growing. The artist reached young adulthood with a body trunk of normal size but with abnormally short legs. He was only 1.5 meters tall.

Deprived of the kind of life that a normal body would have permitted, Henri Lautrec lived wholly for his art. He stayed in the Montmartre section of Paris, the center of the cabaret entertainment and bohemian life that he loved to paint. Circuses, dance halls and nightclubs, racetracks--all these spectacles were set down on canvas or made into lithographs. Lautrec Henri was very much a part of all this activity. He would sit at a crowded nightclub table, laughing and drinking, and at the same time the painter would make swift sketches. The next morning in his studio he would expand the sketches into bright-colored Toulouse art. In order to become a part of the Montmartre life--as well as to protect himself against the crowd's ridicule of his appearance--Henry de Toulouse Lautrec began to drink heavily. In the 1890s the drinking started to affect his health. Toulouse artist was confined to a sanatorium and to his mother's care at home, but he could not stay away from alcohol. He died on Sept. 9, 1901, at the family chateau of Malrome.

Since then Toulouse Lautrec works and posters--particularly Henri de Toulouse-Lautrec Moulin Rouge group -- have been in great demand and bring high prices at auctions and Toulouse art sales. List of Famous Henri de Toulouse-Lautrec Paintings Toperfect supply oil painting masterpiece reproductions of the old master, you are welcome to send us your own picture to copy. Specially for individual customers and collectors, you're suggested to own a Museum Collection by famous artists for such oil painting classic. Buy Toulouse Lautrec Moulin From 1889 until 1894, Henry Lautrec took part in the "Independent Artists' Salon" on a regular basis. He made several landscapes of Montmartre. At this time the 'Moulin Rouge' opened. When the Moulin Rouge cabaret opened, Toulouse-Lautrec was commissioned to produce a series of posters. His mother had left Paris and, though Henri had a regular income from his family, making posters offered him a living of his own. Other artists looked down on the artwork, but Toulouse Lautrec was so aristocratic he did not care. The cabaret reserved a seat for him and displayed Toulouse art.

Among the well-known paintings that Henri Toulouse Lautrec painted for the Moulin Rouge and other Parisian nightclubs are depictions of the singer Yvette Guilbert. No Copyright Infringement of Toperfect's script!

Question: Which artist is famous for painting at the Moulin Rouge?
Answer: Toulouse-Lautrec