“The subversive performers of the Parisian 1890s burst back into life in the brilliant illustrations and analysis of Toulouse-Lautrec Illustrates the Belle Époque. Here, thanks to Henri de Toulouse-Lautrec, is the can-can and the world around these performers.”
Featured in New York Times’ 2017 Gift Guide.
Toulouse-Lautrec Illustrates the Belle Époque is an iconic collection of rare and extraordinary posters and prints from the entire lithographic career period of Henri de Toulouse-Lautrec.
Being born into an aristocratic family located at the old town of Albi, southern France, he has been suffering from a genetic disorder that took a toll on his growth. He was a covetous draftsman since childhood and to further enhance his skills; he relocated to Paris in 1882. He got trained along with intellectual painters and increased his socialization with progressive-grade artists like Vincent van Gogh and Louis Anquetin.
In 1891, Toulouse-Lautrec experimented with lithography for the first time and from thereon, he started to revolutionize the
Having first experimented with lithography in 1891, Toulouse-Lautrec revolutionized the ministry with aspiring work that attributed compact pictorial space, fragmented forms, delineated colors and dramatic scale.
The most iconic and enthralling lithograph of the portfolio is the Moulin Rouge’s female acrobat and clown Cha-U-Kao’s portrait, 1896. She looks jaded, with her legs spread, as she inclines towards the front and gapes towards the viewer as if she is slowly revealing an intimate secret or moment.
This noteworthy collection was set on display for the first time in the United States of America. The most citable feature is that this also entails examples from authoritative contemporaries such as the famous poster for the Chat Noir by Théophile Alexandre Steinlein and the animated painting of the Mirliton by Anquetin.