The Painter - Toulouse - Lautrec

Of the painters of impressionist art period, Lautrec is one of the most unique in life and works. From a well-to-do family, Toulouse Lautrec was able to follow his own style and develop his work without having to depend on commercial success. Adding to the unique work, he did not fit in well with the social class of his family and developed relationships with less than reputable company, favoring associations with those of the circus, pimps and prostitutes. Lautrec had two accidents early in life leaving his body growing and his legs stunted. He measured only four feet, six inches with small legs and walked with a small cane. Because of his physical short comings, his mother was quite protective and encouraged his interest in art. Lautrec compensated with charm and wit what he thought he lacked in physical prowess. Lautrec observed his subjects without judgement or criticism, and often composed works depicting brothels and bars. Much of his work is observation without an attempt to add his personal experience to that which he has recorded.

Lautrec was never noted for his technique or mastery of medium, and more for his ability as a graphic artist. His works are highly significant and original. Lithography suited Lautrec perfectly for medium. Through the years, he developed his sense of color and his lithography became a technical rival to his oil paintings. Lautrec's two styles of painting and lithography define two aspects of his career. Henri-Marie-Raymond de Toulouse-Lautrec-Monfa was born on November 24, 1864 in the town of Albi and had early talent for art. This talent may not have developed had it not been for the two accidents. Many of Lautrec's early sketches include scenes of horses and dogs and of sporting scenes from the period between 1878 and 1882 until he enrolled in the studio of Leon Bonnat in 1882. Learning the principles of composition, Lautrec produced a key portrait of his mother during this period. Lautrec left the Bonnat studio to study under Fernand Cormom and remained there for about five years during which time he developed his personal style. One of Lautrec's favorite and significant characteristics is his works with creatures, whether animals or humans. Landscape were secondary to his work and he was quoted having said to a friend, "...Landscape should be used only to make the character of the figure more intelligible." Two styles that prevailed in Lautrec's latter painting were adapted from Degas and Japanese prints. Japanese prints became popular in early 1880. Lautrec adapted many elements including bold outlines to create a linear rhythm and to play with curves contrasting with angles. Lautrec needed a style that was quick to apply and he rarely labored over precise detail. He enjoyed the circus, brothels, and sporting events. The bars of Montmartre as well as the cabarets and dance halls were frequented where Lautrec drank in excess. His less than robust physique finally succumbed in 1901 after a noticeable deterioration and breakdown in 1899. This last period of two years produced painting that lack the brilliance of the precious ten years and Lautrec died at age 37. As an artist, Lautrec is not considered among the greats of his period; however, as a graphic artist, his style is supreme and worthy of considerable influence. His work is noted in history not only for what it depicts of the artist, but for the representation of Parisian life it recorded.