Early life and work
The Lautrec family descended from a prestigious line of counts of Toulouse and Lautrec, a dynasty dating back to 12th century, inherited a bourgeois lifestyle. In it’s prime ruling the vast agricultural county of Toulouse and 28000 hectares within Albi including 23 communities. The family dominated the region for several centuries, it’s lineage protected through a tradition of inter-marriage. An occasion marked in 1196, when Alex, the daughter of Sicard Viscount married Baudoin, the son of Raymond V.
The governance of Toulouse-Lautrec reigned until the beginning of the Revolution in 1787. The wave of a new political power seizing the rights to the county of Lautrec.
Although the family’s political role diminished, the method of preserving it’s lineage continued. In 1863 Adèle Tapié de Celeyran married her cousin Alphonse, count of Toulouse Lautrec. They lived a lavish life in a rural region in the south of France, owning various estates, situated near Albi. On November 24th 1864 Adèle gave birth to her first son, his full name Henri Marie Raymond De Toulouse Lautrec, at the Hôtel du Bosc in their family town. She later gave birth to a second son in 1867, who died the following year.
Henri’s parents separated in 1868. A relationship brought together through convenience and protecting lineage, strained by their indifference in character and the death of Toulouse’s brother. He moved to Paris with his mother shortly after. She took care of his well being and cherished his creativity. At the age of 8 an artist friend of his father, René Princeteau, took interest in developing Henri’s artistic skills. In the same year Toulouse had to return to his family home due to poor health. Generations of interbreeding caused a series of health problems including hereditary disease of the bones. Too weak to go to school, he was educated at home by his loving mother. A few year later his health worsened. Henri broke his left femur from a slight accident, the following year fracturing his other leg. He was immobilised for large periods in an attempt to protect his fragile bone structure. Either the cures at the time were ineffective or the injuries did not healed properly. As a result his bones fused and stopped growing, as an adult he was only 5ft 1′. During the confined periods Lautrec continued his interest in painting. He was an animal lover and enjoyed sketching the rural wildlife, a popular subject was horses. At sixteen, Henri painted his first portrayal of his family, “Groom with Two Horses”. The portrait of his father in uniform on horse back whilst holding the reigns of a second. Alphonse in contrast to Toulouse was an assertive, strong and authoritive figure. In the little role his father played in his life, Toulouse used his creative skills in an attempt to impress him.
In 1881, after passing his school leaving exams, he decided to study art professionally to become a painter. His work from this point reflected the lives of those within his close surroundings. His mother often posed for him and was an inspiration in several of his paintings. Princeteau recommended that he be trained under artist, Leon Bonnat, in Paris. His tutor favoured more traditional methods and was often very critical of Toulouse’s expressive style. He felt however that the pressure to achieve his masters high standards brought the best out in his work. A realisation that came to him when comparing his teaching methods to Fernand Cormon, whom he studied under in 1882.
The Artist’s Mother, Countess Adèle de Toulouse-Lautrec, at Breakfast at Château Malromé – 1881- 1883
Toulouse adored his mother, with her strong will and determination she was a mentor and loving parent. He portrays her sitting in their family home with a cup of coffee, her devotion to her son clear as she patiently allows him to paint. He creates a colourful depiction of his mothers features using warm and subtle pinks. Light green and brown brush stokes suggest elegant furniture within a spacious room, large window behind her outlooking a mast of greenery.
Movement
Under the teachings of Fernand Cormon, Henri was maturing as an artist. He became an excellent draughtsman and had the ability to paint from life. Within a few stokes he could capture the movement of his subject. Frenand encouraged observation studies in his Paris studio and introduced his students to various locations including Montmartre. A decision that lead to Toulouse’s love affair with the district and it’s working class for 20 years.
Poudre Riz – 1887
Oil on Canvas
Toulouse was studying in Paris the lifestyle of bohemian families. It was during this period he met model, artist and circus performer Suzanne Valadon. After resigning her early performing career due to injury she moved to Montmartre and became an artist’s model. She was the muse for progressing artists such as Degas, Renoir and Auguste included was Lautrec. Her life was lived passionately and free, full of night clubs, cabarets and parties, contrary to Toulouse’s isolated upbringing which conformed to social attitudes and responsibility.
In this painting Toulouse depicts her informal pose defining her independence. She looks directly at the viewer with self confidence and determination. Beside her is a red pot of rice powder used as make-up to create a fair complexion. His impression of the model is far more intimate than Renoir’s “Girl braiding her hair”. His work is a careful construction of features naturally flawed expressed in heavy brush stokes. An experimental technique he adopted was to use oil and turpentine. The effect was insipid in comparison which could suggested her inferiority in Parisian society.
Unlike Degas, Toulouse’s work was more expressive using heavy brush stokes. The result is harsh and often depicts the subject as unflattering. Toulouse response was to create, in his mind, what was real.
Toulouse did not accept the picturesque and dated movement know as the Impressionist. This thought was shared amongst fellow artist Van Gogh, an acquaintance he made in 1886 in Cormon’s studio and befriended, along with Emile Bernard, Charles Laval, Eugène Boch, François Gauzi and Louis Anquetin. They became part of the new generation artists, the Post-Impressionists. Up until this point critics widely regarded the movement as indecent. However as more artists rebelled against the Salon, it transformed the views of the art world. Popularity for this movement reached a colossal scale in the 1880’s and became a commercial success.
Portrait of Vincent van Gogh 1887
Pastel on Cardboard
Vincent sits in a cafe in Paris, remaining alert whilst his friend sketches his profile. His style celebratory of van Gogh’s, thick strokes creating movement and suspense. Using a few suggestive marks he defined the strong characteristic features of Vincent. The powerful representation of the artist gives us insight into Henri’s impression of his friend.
Celebrities
The relationship that existed between Toulouse and the entertainers heavily influenced his work. His poster design of La Gouloue was genesis of his famed success in creating publicity posters. He himself became a star and his designs were hugely sought after in the graphic world. During this period half of his input was illustrating celebrity personalities. Up until now he his style was not widely recognised. His wide brush marks and sparing use of colour, now emphasized with bold blocks of colour and strong lines depicting features.
La Gouloue 1891
Lithography
Henri’s association with the dancers created a commercial appeal. In 1891 he received his first commission for the Moulin Rouge. Louis Weber, La Gouloue, was an up and coming entertainer in the Montmartre area. Her growing career was due to the publicity posters created by Toulouse-Lautrec. His La Gouloue poster created massive appeal for the social class ready to be entertained. It’s 3,000 copies plastered all over Montmartre causing stirred anticipation. He modernised poster design by re-inventing the lithography print and creating bold use of colour. The repetitious Moulin Rouge red, and the black text flow to the centre image. The main focus is on the dancer preforming her adaptation of the can-can. A crowd is formed round La Gouloue encircling the dancer silhouetted in the stage light. In the forefront the outline of Valentin-le-Désossé can be made out against his bold shadow.
The commission for the Moulin Rouge performance of La Goulue accelerated Toulouse’s fame dramatically. He became recognised as an equal to the celebrities he portrayed and had a personal connection with his client’s that made him so successful as an illustrator. His poster designs captured their unique personalities in a moment. The originality of his style became hugely influential that other artists such as Pierre Bonnard and Edouard Vuillard incorporated the simplified design with hand drawn text into their work. The effectiveness of the artist’s publicity posters gave celebrities an immunity, the posters inspiration still recognised today.
Another entertainer preserved within the posters was Aristide Bruant in 1892. The singer at the hight of his success, an adaptation of folk singing in the prestigious Ambassadeurs in central Paris. The emphasis on the singer is the preliminary focus as he becomes the dominant feature in the fore ground. The use of block primary colours and space prove effective in drawing attention to significant features and text.
Aristide the chanson singer and song writer was part of an old genre folk music. He sang about the lifestyle of the impoverished and working class. He regularly sang at the Chat Noir from when it opened it’s doors in 1881. The cabaret became a notorious meeting place for artists, singers, writers and working class. Songwriters such as Aristide flourished, his message connected with his audience through an applauded response. He had distinguishing features from other singers, his black coat, red scarf and signature hat. It became part of his persona and character a working class singer sharing his concerns of society. Three years since the it’s opening the Chat Noir moved location. The old establishment leased to the singer and renamed “Le Mirliton”. Toulouse’s meeting of the singer in this cabaret club was one of appreciation. The singer greatly admired his artist talent. He commissioned a further two publicity posters in 1892. By his big performance at the “Ambassadeurs” Bruant was already a success. The “Ambassadeurs” poster had created such impact that the same image was incorporated into the poster for a guest appearance at “Eldorado”. In 1893-1894 another two posters of Bruant were designed. Although both posters are quite striking, showing a variation in his pose, the background seems plain in comparison with the preliminary study.
Divan Japonais 1892
Yvette was an entertainer, dancer and chanson singer. She sang in the similar style of Bruant and studied chanson realism, the genre that became exceedingly popular during and after the 2nd war between the 1940’s-1960’s. Stars such as Edith Piaf, Jacques Brel and Leo Ferré conquered the theater stage within this era. Referred to as the silhouette, Yvette’s long slender figure was accentuated by long black gloves. A personal touch that became associated with the singer through Toulouse’s lithographs. Her iconic features are displayed at the top left corner. The artist purposely cut off her image at the neck line to emphasize this characteristic, which became her trade mark. In the fore ground the dancer, Jane Avril, watches her perform a chanson song on stage. She also made famous through the publicity posters.
In tribute to the developing dancer, Jane Avril, Toulouse-Lautrec designed a poster for her performance at the “Jardin de Paris” in 1893. Her image emphasized by the artists familiar flat colour and simple lines depicting essential features. She is posed on stage dancing a version of the can-can in tune to the double bass player shown in the fore ground. The instrument merges into a border typical of the art nouveau style.
Lithographies
The artists focus on bohemian lifestyle appealed to magazine publications. “Le Rire” (To Laugh or Laughter) was a progressing humor and satire magazine founded in Paris by Felix Juven. First published in 1894 and continued it’s success till the 1950’s. During this period it underlined the corruption and incompetence in French politics. In particular shedding light on the “Dreyfus Affair”, the political scandal of Captain Alfred Dreyfus being falsely convicted of treason. It was revealed that the Army had suppressed and covered up evidence that would prove the Captains innocence. The coverage of the affair was published in the newspaper L’Aurore. The famous lines entitled “J’accuse”, written by Émile Zola accusing the government of unjustly jailing Dreyfus. Le Rire responded to the affair with humorous illustrations depicting the government as incompetent.
Le Rire was mostly famous for it’s coloured illustrations and included the most profound artists such as Steinlen, who contributed 2000 illustrations within 50 of the journals from 1894 -1900. Like Toulouse he captured intimate scenes of the social class in a humorous fashion. His Front page entitled “Au Moulin de la Galette” depicts the contrast of the classes. The Moulin served as a dance hall attended by artist, middle class gentleman, musicans, dancers and female escorts. The women seated are likely to be the latter. She is approached by a strange, sad, little man who asks her “Would you care to dance with me miss?” To which he is rejected and responds “You are making a big mistake miss” in an attempt to restore his self image.
Toulouse brought high status to Le Rire in it’s first three years of publication. His connections with celebrities and high societies introduced an insight into the lifestyles of the social class depicting scenes of night life entertainment, cabarets, cafés and bars. His illustrations records provides us an accurate visual representation of 19th century bohemian families. He was the first artist to portray leisurely endevours either Toulouse found beauty in what was thought unamusing or other artists viewed the sight as too scandalous. Between 1894-1897 he had produced 10 coloured drawings and 7 black and white, his work the most celebrated and memorable of the magazines publications.
Toulouse’s illustrations mocked the self righteous image of the high class in scenes such as “Snobism”. A pompous gentleman sits in a restaurant with a younger woman that could be assumed to be his mistress or a prostitute. To conceal his embarrassment he asks “Jeanne, take my wallet, without anyone spotting you, out of the left hand pocket of my overcoat … then give it to me as if it were yours”. Although being an aristocrat Toulouse identified more with the working class. He stayed in the narrow streets of Montmartre for 20 years and enjoyed the visiting it’s bars, cafes and clubs.
“Chocolat Dansant dans un Bar” illustrates the social night life, an evening in one of Montmartre’s bars. As the Moulin Rouge closes for the night entertainers and spectators flock to near by clubs and cafés. The atmospheres in the bar livens when “chocolat” the clown takes centre stage to dance as musicians play.
In 1894 Henri also introduced us to star Yvette Guilbert, to whom he much admired. At the time Yvette was already recognised through the “Divan Japonais” performance. The year coincides with an album dedicated to her through publisher Marty and illustrator Toulouse Lautrec. A considerable tribute was made to the entertainer, a fully illustrated 16 pages and front cover. It was part of a later three albums that would become one of the most important theatrical prints of celebrity personalities. Her appearance in “Le Rire” made famous by Toulouse’s illustrations popularised the demand for the singer.
A new talent prospered in lithograph a year later, an american dancer called Miss May Milton. Due to unknown circumstances May only performed one winter at Rue Fountain. Although little is know about the starlet, her image is immortalized through Toulouse’s work.
London
Toulouse made great impact In London, 1896-1900, between the correspondence of W.H.B Sands and Toulouse was the production of Yvette Guibert album in English and the Treize Lithographies. The Yvette album to coincide with her performance in London on the 2nd of May 1898. Toulouse traveled to London acquainted by Louis Bouglé, also known as Spoke, sales manager of a bicycle manufacturer, La Chaîne Simpson. His association with the artist is recognised through the commission of La Chaîne Simpson publicity poster. Spoke had later worked with Sands, publisher of the Paris Magazine, writing cycling notes. He recommended Toulouse’s illustrative talent and knowledge of current celebrity personalities to Sands to discuss a production of a theatrical print. At the time it was decided that an album of 20 celebrities would ensure the success of the publication. Listed were the most famous performers of the late 19th century; amongst them were Sarah Bernhardt, Anna Held, Polaire and Yvette Guilbert. It was later decided that Yvette should have her own album. This would publicize her showing in London. The collection of entertainers was scheduled to finish in 1896. Further work on the Yvette album delayed the deadline, The Treize Lithographies would not be printed until 1900. The delays meant that the Yvette album was made on schedule, the performance however never materialized due to illness. Yvette informed Toulouse she was suffering pains, her doctor recommending that she be treated in Carlsbad, Germany. The repercussions of the cancelled performance had a negative effect especially on Sands. He lost enthusiasm on the Treize Lithographies album and started a new project during it’s progression. In the end thirteen of the artists were published in the series including: Sarah Bernhardt, Sybil Sanderson, Cléo De Mérode, Benoit-Constant Coquelin Aîné, Jeanne Granier, Guitry, Anna Held, Balthy, M. L. Marsy, Polin, May Belfort, Émilienne D’Alençon and Jane Hading.
Despite it’s complications, the two albums became an important reference that enlightened theatrical entertainers and heightened their success. The Treize Lithographies is one of Toulouse’s largest series of collective stars and is considered the most influential insight into late 19th century entertainers.
Toulouse died in 1901, his legacy however has had a significant impact to the graphic arts. The integration of text within the design of prints was in affect through till the 1940’s, a technique that can be recognised through, the graphic artist, Frank Newbould’s successful telelphone advertising poster.
It features heavily in the art nouveau movement and French design, most iconic would be the design of the entrance to the Porte-Dauphine metro station.
Today his work is regarded as accurate recordings of one of the most influential era’s in history. I admire his work for its significance in the development of illustration as a recognisable art form. His work gave my a better understanding of the use of text becoming an essential part of design that I can apply to my own work. The use of modern technology means that the layout and text can be applied more accessibly allowing for a quicker resolution of designs that can be experimented without limits. Unfortunately though digital processes I think we have lost valuable drawing techniques that can apply to observational drawing. Toulouse has recreated a sense of personality and emotion though his prints that I don’t think can be experienced though digital reproduction. I find these skills help us associate a connection within our surroundings.
ahogg 