Henri Toulouse Lautrec Yvette Guilbert 10-500 Estate Authorized Framed, Matted and Non-Reflective Acrylic Protected Lithograph

Details

Description

Very Good Condition
Estate Authorized Printing

Henri Toulouse Lautrec
"Yvette Guilbert"
10-500 Estate Authorized
Framed, Matted and Non-Reflective
Acrylic Protected … Read more Very Good Condition
Estate Authorized Printing

Henri Toulouse Lautrec
"Yvette Guilbert"
10-500 Estate Authorized
Framed, Matted and Non-Reflective
Acrylic Protected Lithograph

Matted, Framed and
Ready to Display

framed size is approximately 18" H x 15" W
image size is approximately 12" H x 9 1/2" W

Please Read ! This is among the most well known of Lautrec's works, and it should be easy to see why, with the grace of a French woman at the turn of the 20th Century ~ the frame and print are in very good condition condition with only light signs of wear and handling ~ I hope you can provide it a loving new home ~ please see photos for condition details ~ tracking number included with all shipments ~ All items are from a smoke free environment. We ship orders every day, and same day when possible. Your complete satisfaction is our goal!

About the artist:

Henri de Toulouse-Lautrec was born on November 24, 1864, in Albi in the French Pyrenees. Highly eccentric, artistic, and protective of their only surviving son, his aristocratic parents educated him at home. At age ten, Toulouse-Lautrec was hospitalized for severe bone pain, beginning a lifelong cycle of physical complications and extended periods of convalescence. By age 16, he was permanently crippled by a genetic disorder that also stunted his growth. Obsessive drawing and painting served as an escape from his physical and emotional challenges. In 1882, he went to Paris to study art, first with Léon Bonnat, then Fernand Cormon: in latter’s studio, he soon became acquainted with Émile Bernard and Vincent van Gogh. Academically trained, he quickly abandoned the conventions of perspective for avant-garde experimentation and was influenced by Eastern aesthetics via the trend of Japonisme, evident in the snapshot angles and large areas of flat color in works such as Rider on a White Horse at the Cirque Fernando (Au Cirque Fernando, écuyère sur un cheval blanc, 1889).

In 1884, Toulouse-Lautrec permanently settled in Montmartre, a low-rent haven for artists, bohemians, and the performers, patrons, and prostitutes frequenting the neighborhood’s nightclubs, including the Moulin de la Galette and Chat Noir. Despite his visible disabilities, he led a highly social existence, associating with a range of people, from the poor and marginalized to the wealthy and celebrated. While his early paintings and drawings focused on the psychological qualities of his models, after 1886 he tended to place his subjects (including himself) in nightclubs, brothels, bars, racetracks, and other social settings. At the Moulin Rouge (Au Moulin Rouge, 1892) is one such scene. Toulouse-Lautrec, of visibly small stature, sits at a table with artists Maurice Gilbert and Paul Sescau; the famous can-can dancer La Goulue is bleakly portrayed in the background, while another dancer’s face looms in the foreground like an eerie mask. Although the artist lived life publicly and exuberantly, his images of drinkers, nightclub dancers, and idling prostitutes exhibit a gamut of emotions, from desire to detachment and ennui, creating a revealing picture of life on the margins of fin-de-siècle Paris. His disdain for bourgeois values extended to his artistic style. He abhorred the varnished surfaces of salon-style painting and deliberately created rough, sketchy canvases with an unfinished appearance. Several of his posters, including Loïe Fuller au Folies Bergère (1897), were so graphically bold as to veer into abstraction.

Toulouse-Lautrec exhibited in notable exhibitions, including the Salon des Arts Incohérents (1886, 1889), and with the invitational avant-garde group Les XX in Brussels that also showed work by Paul Cézanne, Paul Gauguin, Georges Seurat, and van Gogh. He was praised by critics Claude-Roger Marx and Gustave Geffroy and worked with a number of Parisian galleries. In addition, Toulouse-Lautrec earned popular notoriety not only for his public persona but also for his artistic production. His first poster, Moulin Rouge, La Goulue (1891), was visible all over Paris, and he was commissioned for portraits, advertisements, and book illustrations. After years of alcoholism and living with syphilis, he was briefly admitted to a sanatorium in 1899. He suffered a stroke in 1901, while on holiday in the south of France, and died soon after, on September 9, at his family’s estate Château Malromé, Saint-André-du-Bois. Posthumously, Toulouse-Lautrec’s work has been the subject of many exhibitions at venues that include the Museum of Modern Art, New York (1956); National Gallery of Art, Washington, D.C. (2005); Art Institute of Chicago (2005); Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (2009); and Courtauld Gallery, London (2011).

20250907X15995 24x18x4 See less