Henri de Toulouse-Lautrec

Henri Marie Raymond de Toulouse-Lautrec-Count Monfa ( Albi , November 24 1864 - castle Malromé ( Gironde ), September 9 1901 ) was a French painter , graphic artistand lithographer .

Content
[verbergen]
 * 1 Life
 * 1.1 Deities
 * 1.2 Childhood years
 * 1.3 Artistic education
 * 1.4 Creation of his personality in the Paris of the late 19th century
 * 1.5 Draughtsman - painter - poster designer
 * 1.6 The painter and love
 * 1.7 Physical deterioration
 * 2 Painting style
 * 3 Paintings
 * 4 Museums
 * 5 Images
 * Posters 5.1
 * 6 External link

Forms [ edit ]
Henri de Toulouse-Lautrec's poster designer, painter and chronicler of his time, the " Belle Epoque ". He is also the decadent aristocrat who delights in the filth, political disorder, hypocrisy, and to portray the loneliness of his time. He outlines the outcasts of his society, in their most intimate moments. He is also the broken man, who is part of the black night of Paris . The artist above all, who looks and displays, without moralizing, without being pretentious comment.

Mother of the artist, 1881-1883 ~

[Youth Years edit ]
Toulouse-Lautrec Monfa was born on the estate of his noble family to Albi (department of Tarn ). His father, Count Alphonse-Charles has the character of a medieval military leader who has to put up at a time when no more space for knightly deeds. An imperious, willful nobleman with three great passions: hunting, horses and good food. The noble titles of the Toulouse-Lautrec date from around 750, the time of Charlemagne . The name Henri is intended as a tribute to the French pretender to the throne, called KingHenry V, Count of Chambord .

Henri's mother, Adele-Marquette Tapié the Céleyran, is a cousin of her husband. Her ancestral home dating from the 12th century. She gave her husband an impressive dowry. In the 19th century the French nobility often married within the family, in order to prevent breakdown of heritage. Henri after his parents had another son, who died after a year.

All the conditions to grow into a wealthy, sophisticated French aristocrat seem collected, were it not that Henri physically is not normal. Brittle bone by pyknodysostose . His deformity is the result of inbreeding caused by intermarriage within his family.

For Henri's birth his parents had divided the upbringing. The first few years would be the small Henri to tradition ascribed to his mother, then his father would continue the education. But in practice, it would fall through. The count is ashamed of his deformed, dwarfish son and refuses to show him. Moreover, he divorces Adele, as Henri was less than four years old.

Lautrec painting Le Moulin Rouge, 1890

In 1872, after the Franco-Prussian War, the mother of eight-year-old Henri settles in Paris itself and writes to him in the Lycée Fontanes. He won many awards and is among the best students. He outlines riders, horses, knights and carriages in the margins of his language scripts. A classmate, Maurice Joyant later his best friend. At that time he was called because of his small stature 'P'tit bonhomme.

Because of his poor health he is taken out of school when he was ten years old. Back in Albi he studies at home, but it's not great. In 1878, at the age of fourteen he has an accident, which divergent readings. He broke his left femur, the bone heals bad and he begins to limp. The following year he broke his right femur. Both accidents result in the growth of his legs stopped growing while his torso by. The result is that Henry, who is great at thirteen nearly five feet, as an adult, is only a few centimeters bigger.

There is little doubt that Toulouse-Lautrec suffered pyknodysostose, an ailment that causes dwarfism and in twenty percent of cases caused by incest or inbreeding. He was a typical example of this disease: less than five feet with normal mature body and head but with short arms and legs, wide nostrils, a sunken chin, bright red and pursed lips, and an oversized tongue making the person incessantly lisps and drools. Myopia meant that Toulouse-Lautrec a pince-nez had to wear. The fact that the height of the forehead fontanelle was not completely healed, forced him to in all conditions, indoor and outdoor, good or bad weather, to keep wearing a hat.

Moulin Rouge - La Goulue by Toulouse-Lautrec, 1891

He gets hate running, he prefers riding in a carriage. His perception grows into a journalistic focus, culminating in his expression. Despite his frail skeleton is his mental strength, his intellect and his extraordinary energy, as well as his painting and drawing ability.

Artistic education [ edit ]
In 1882, on his seventeenth birthday, he received permission from his parents to drawing and painting seriously start practicing. His first teacher was the reckless painter René Princeteau, a friend of Toulouse-Lautrec's father, specializing in drawing and painting horses. Under his influence, Toulouse-Lautrec be captivated by the picturesque horse racing around Paris Auteuil, Longchamps, et cetera.

Soon comes to the conclusion that he Princeteau Toulouse-Lautrec nothing can teach and gives his parents advise him to Léon Bonnat send (1834-1922). This is a local celebrity, but a completely academic painter. He feels Henri's style of painting is not bad, but his drawing skills downright awful.

If Bonnat closes his studio, Henri, along with other former students of Bonnat a group of artists led by Frédéric Cormon (1845-1924). With the latter he may participate in the illustrations for the third series of Victor Hugo 's poetic epic La Légende des siècles', published in 1883. There he learned the painter Emile Bernard know (1868-1941), who points to the art of Paul Cézanne (1839-1906), Edgar Degas (1834-1917), Édouard Manet (1832-1883) and Auguste Renoir (1841-1919), as well as those of the Spanish painter Francisco Goya and Diego Velázquez .

Realization of his personality in the Paris of the late 19th century [ edit ]
In 1884, Toulouse-Lautrec moved to a studio in Montmartre forming his home the next thirteen years. He visits Le Chat Noir, the cabaret was founded late 1881 by the artist Rodolphe Salis at the place of his studio and named after the story The Black Cat, by Edgar Allan Poe . Salis is rather a bad painter, a famous comedian. Among his guests areVictor Hugo (1802-1885), Émile Zola (1840-1902), Alphonse Daudet (1840-1897) and others. His eponymous newspaper rises in interest above his cabaret, because the life and aspirations of Montmartre, its landscapes, its criminals and prostitutes are described. Le Chat Noir Paris precipitation forms of the last twenty years of the 19th century . A city that buzzes with famous names, a giant magnet where to focus the forces of Europe. Paris is the birthplace of all spiritual movements.

In bed, 1892

In the nocturnal life of this city of Toulouse-Lautrec find the freedom to paint what fascinates him: life itself, the people that interest him in an environment he knows. He paints in environments only flourish in artificial light. This is in complete contrast to the then prevailing principles of impressionism in which the effects of light sought in the landscape. Before that, his work is unusual and bold and vilification not small.

Especially in 'Le Chat Noir' and also the 'Boule Noir finds the types of people who fascinate him. He observes the wealthy gentlemen with the flower in the buttonhole, patent leather shoes with spats, light gloves and a cane with gold button, the stock market speculators in skirt, the bloated officers, nobility of Western and Eastern Europe that the frivolous life in the city above prefers their own capital, the chalk-white ladies of easy virtue, the mistresses with their heavily accentuated eyes and lips, the hookers with their jaded faces, flaunting in tasteless, distinctive clothing, and the artists and creators with their jaunty black ties and broad-brimmed black hats. Art and everyday life seem to effortlessly flow into each other.

Through his acquaintance with Louis Anquetin (1861-1932) Toulouse-Lautrec gets introduced to the circle of brilliant guests of Le Mirliton 'cafe-cabaret composer and singer Aristide Bruant in Montmartre opened in the old room of Le Chat Noir.

Vincent van Gogh arrived in the spring of 1886 to Paris and became friends with Toulouse-Lautrec. Both had their intense love of life and their frustrations common.Toulouse-Lautrec knew with his caustic humor and ironic contempt for fate to keep standing, while Van Gogh melancholy brooding on the tragedy of life. In 1887 signed Toulouse-Lautrec, Vincent portrait: an expressive pastel drawing of a man who three years later sought the death.

Jockey, 1899

Toulouse-Lautrec draws and paints the colorful world of artists and their audience. He feels at home in 'Le Cirque Fernando ", also the favored residence of Edgar Degas ,Auguste Renoir and Georges Seurat (1859-1891). Other favorite haunts of the painter: the circus and later ballroom 'Folies-Bergeres, "the ballroom" Moulin de la Galette "and the music hall 'Moulin Rouge'. He learns the ugly but fascinating former salesgirl Yvette Guilbert, the female clown Cha-U-Kao, "Spanish dancer La Macarona" the dancer "Mome Fromage," the blond girl having fun 'La Goulue' and contortionist "Valentin le Désossé 'who leads the dance.

Illustrator - painter - poster designer [ Edit ]
The first painting style of Toulouse-Lautrec is derived from the Impressionists. In particular, the decorative surface effect of Pissarro, created by his brushwork of parallel lines and keys, he utilized. This way of painting, common in the years 1885 to 1890 was later replaced by a freer, more open technique with smooth, graphic defined uniform patches. Toulouse-Lautrec frequently changes his brushstroke: polka dots, short lines and zig-zag lines, in order to create a decorative equivalent for various surface structures, such as Van Gogh did in his pen drawings, but less naturalistic.

Toulouse-Lautrec is also influenced by the techniques, styles and subjects of Degas, a close neighbor from 1887 to 1891. The painter Degas, Toulouse-Lautrec first encouraged him but later reviled, painted his dancers to the form. Toulouse-Lautrec contrast added the uniqueness of such a dancer on the form and put it in people skills.When he put the dancer, he also saw her little joys, her fatigue and meager wages. Thus the art of Toulouse-Lautrec is more immediately accessible than the intellectual style of Degas. Just as Degas experimented Toulouse-Lautrec and turpentine painting, also peinture à l'essence "called. The method of Degas consists of blotting paper is sucked on the oil from the paint. Then the chalky paint diluted with turpentine and applied to the surface of the paintings as a watercolor. As the turpentine evaporates quickly, the paint dries quickly so that the painted surface quickly edited again and can be built without much delay. In contrast to the paint which is applied in thin layers, and glassy this technique results in matt colors with a chalk-like surface that is only thin and little colored. As Degas Toulouse-Lautrec prefers gloomy, dull earth colors instead of pure bright hues. These colors are suitable for the nighttime interior that he, like Degas, depicting so often. Toulouse-Lautrec is also experimenting with the effect of dofmakend not primed canvas and with the use of unusual substrates such as brown cardboard.

Poster La revue blanche, 1895

More than a neo-impressionist Toulouse-Lautrec is a precursor of Expressionism and Art Nouveau, Art Nouveau style of the 20th century. The mostly vertical, thin strips of paint signs dramatic figures - tragic or tragicomic - against the carrier. Toulouse-Lautrec draws more than he sweeps with his brush, rather than the key brings the line vibration and life in his paintings. As he goes fiercer life, including in Montmartre, the importance of the expression increases and the impression it is subordinated. Brown, rough and spotted a cardboard carrier as it involves efficient in its composition.

With a minimum of stress he reaches a maximum dramatic effect, as in "Seule" a woman dressed fallen down on a bed. The modernity of this work and the technique hardly belong to the 19th century.

In "La femme au boa noir is the foreshadowing of Egon Schiele who actively decades later. Partly by Toulouse-Lautrec's stature he looks mostly from down to his subjects, causing the light and focus are very personal, as may be perceived by the accented nostrils and the angle of incidence on the woman's face. Colour and light use and composition exhibit a degree of certainty that one until much later include Ernst Ludwig Kirchner , Edvard Munch and Spilliaert to find. This body of work is moving forward between Manet and the future expressionism.

The drawings by Toulouse-Lautrec summarize the essential features of his subjects together and add so much detail in as needed to summarize the key elements of the personality or the environment. Clothing and physiognomy are merely indicated by specific traits and strokes. This ability to caricature is an important element of his style and was necessary for his lithographic work.

The Parisian bourgeoisie was ruthlessly put down by the spotter Honoré Daumier (1808-1879). Toulouse-Lautrec painting and lithographs same bourgeoisie but without Daumier bitter scorn. His intervention in the daily life of the Parisians were journalism lens. Toulouse-Lautrec, nobleman of the blood, despised the benefits of the aristocratic caste. For him, no matter aristocracy of birth or money but matter of personality. Caricaturist in him never slept. He threw himself on the monstrous, ridiculous.

In the posters which he began to make in 1890, were visual simplicity and direct impact is necessary, both for the technique as for the commercial function of the image. His experiments with color lithograph made this one of the most important art forms of the 19th century. Toulouse-Lautrec lithograph ennobled as an art form and improved technical. Until five stones were needed to express his color lithographs. These were not just posters, but rather independent works of art which not only the red light district but other topics were discussed such as the good cyclist, motor sport, theater, books and magazines.

Justine Dieuhl, 1891

With his poster 'La Goulue' for the 'Moulin Rouge' in 1891, he garnered such a huge success that was his name as a poster designer made. Toulouse-Lautrec had both technically, intellectually and emotionally a different approach than other artists of his time. The sensitivity obtained by precision in the use of color and line formation, retains the ability to move aesthetically and generate social conscience.

The painter and love [ edit ]
Toulouse-Lautrec could hide his true feelings for a woman. What he felt for his friends, was a mixture of jovial camaraderie and restrained desire. He never married, divorced and had countless love and sex relationships, but usually short-lived. In 1883, Marie Charlet was his first mistress. In 1889 he left the model Suzanne Valadon, after she attempted suicide. He had affairs with prostitutes, Jane Avril and the eighteen-year-old Scottish singer Cissy Loftus. Like many writers Toulouse-Lautrec was drawn to the world of prostitution. He regularly took some time to move into a brothel. The girls of pleasure accepted the painter and tolerated him as one of them. They called him Mr Henri the painter. He, for his part, appreciated their childishness, the spontaneity and boldness. In his paintings he groped beyond the picturesque of the brothel parlor. He gave a true picture of the daughters of the poor, which is offered to the sons of the wealthy. He painted the girls while they bathed, dressed, had breakfast in the lounge waiting on customers, themselves in the mirror and caressed each other, in their miserable hunting a little tenderness amid paid love.

Physical decline [ edit ]
Toulouse-Lautrec often worked at night until the early morning hours, after which he calmly walked into a printing company and started a lithograph. His chronic lack of sleep was associated with alcohol abuse. In addition, he suffered from syphilis . End of 1898, he was a wreck. He was excited and irritable. His face was pale and puffy. His hands trembled incessantly. His senses seemed so confused that it was feared that he was insane. His nurse, Floury, which should ensure that he remained sober, drank to him. In March 1899 he had an attack of delirium tremens . On medical advice his mother gave permission to let him record in the establishment of dr. Semelaigne at Neuilly. After a failed attempt to make him insane state, doctors told him in a rehab for. On May 20, he was allowed to leave the clinic. After two months he drank again. He always outwitted the guardian appointed by his mother to keep him day and night in the holes. A little later he left Paris and settled in Le Havre, where an English barmaid Dolly inspired him and work him in anger again rekindled. In 1900, Toulouse-Lautrec again showed signs of imminent collapse. In 1901 he returned to Paris, settled things, arranged his paintings and sketches in his studio and put signatures and monograms.

Rouge - La toilette, 1889

In August of the same year he was again a stroke. His mother took him into semi-cripple state along to the family lock Malromé, where he died. According to some sources, his father was absent at the funeral, according to others he caused uproar by the hearse leave so fast ride that could not follow the funeral procession.

[Painting style edit ]
The works of Toulouse-Lautrec rank as impressionism, from the early 1890s, more particularly by the post impressionism , characterized by careful tessellations with clear outlines and bright colors.

[Paintings edit ]

 * At the Moulin Rouge
 * Young Routy in Céleyran 1882
 * La Blanchisseuse (The laundress), 1884-1886
 * A montrouge, 1886
 * Circus Fernando, 1886
 * Albert Grenier, ca.1887
 * The Englishman at the Moulin Rouge
 * Cheval blanc gazelle 1881
 * The Sofa
 * Riders, 1880
 * Poudre de riz, 1887, Oil on canvas, 56 x 46 cm [1]
 * La Clownesse in the "Moulin Rouge", 1897
 * Woman with an Umbrella (Berthe the Deaf in the Garden of Monsieur Forest), 1889
 * La Goulue arriving at the Moulin Rouge, 1892

Museums [ Edit ]
The paintings of Henri de Toulouse-Lautrec hang in museums include:
 * Toulouse Lautrec Museum in Albi
 * Metropolitan Museum of Art in New York City
 * Hermitage in St. Petersburg
 * National Gallery (Prague) in Prague