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HENRI DE TOULOUSE-LAUTREC (1864-1901)
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HENRI DE TOULOUSE-LAUTREC (1864-1901)\n\nDanseuse ajustant son maillot (Le premier maillot)\n\nsigned bottom left 'HT Lautrec'--oil on board\n23 1/4 x 18 1/4 in. (59 x 46.5 cm.)\nPainted in Paris, 1890
US
NY, US
US

notes

Ballet dancers, circus performers and dance-hall ladies of Montmartre provided staple subjects for the artist from the late 1880s through the early 1890s. Lautrec had been struck by Baudelaire's essay "The Painter of Modern Life" in which he calls on artists to leave the seclusion of their studios and go outdoors to directly capture contemporary life. Rejecting the stiff, unnatural pose of the professional model, he began observing modern life. The artist now focused on unrehearsed gestures thereby eliminating unnecessary details from his paintings. Consequently, Lautrec found it necessary to abbreviate his technique and fortunately, his facile draughtsmaÿnship allowed him to develop a style using very rapid strokes of thinned oil, most of which was concentrated on the subject with the background left to just a bare minimum.

In Danseuse ajustant son maillot, Lautrec has caught the young dancer adjusting her pink tights backstage unaware of our observation of her private moment. Taking from Degas, who made a practice of cutting his figures at unexpected angles, the artist places the dancer on an oblique angle. With exquisite as well as economical use of lines, Lautrec records only the necessary detail adding to the intensity of this portrait. The thinly washed transparent tutu acts as a foil to the thickly painted pink tights.

Charles Stuckey discusses Lautrec's interest in capturing that transient moment of observed reality:

Unaware that they are being observed, their private

meditation is witnessed but not understood. Lautrec

had the profound insight to scrutinize people

looking, or as they follow their thought along paths of

glances over shoulders and across rooms, or tracked

backwards into private reveries. Confronting the

visual act increases our awareness of all that it

can mean to see, and this was Lautrec's poetry.

(C. Stuckey, Toulouse-Lautrec: Paintings, Chicago,

1979, p. 28)

title

HENRI DE TOULOUSE-LAUTREC (1864-1901)

medium

Signed bottom left 'HT Lautrec'--oil on board

signed

Signed bottom left 'HT Lautrec'--oil on board

exhibited

Paris, Galerie Durand-Ruel, H. de Toulouse-Lautrec, May, 1902, no. 40

Paris, Galerie Manzi-Joyant, Exposition Rétrospective de l'oeuvre de H. de Toulouse-Lautrec 1864-1901, June-July, 1914, p. 12, no. 42

Paris, Galerie Charpentier, Exposition de la Musique et de la Danse, Jan. 1923, p. 12, no. 41

Paris, Musée des Arts Décoratifs, Cinquante ans de peinture française 1875-1925, May-July, 1925, p. 35, no. 162

Bern, Kunsthalle, Europäische Kunst aus Berner Privatbesitz, July-Sept., 1953, no. 128

Vevey, Musée Jenisch, Paris 1900, 1954, no. 111

Winterthur, Kunstmuseum, Europäische Meister 1790-1910, June-July, 1955, p. 51, no. 197 (illustrated, pl. XXVIII)

dimensions

23 1/4 x 18 1/4 in. (59 x 46.5 cm.)

literature

M. Joyant, Henri de Toulouse-Lautrec 1864-1901, Paris, 1926, vol. I, p. 269 (illustrated, p. 93)

G. Jedlicka, Henri de Toulouse-Lautrec, Berlin, 1929, p. 400 (illustrated, p. 391)

E. Schaub-Koch, Psychanalyse d'un peintre moderne: Henri de Toulouse-Lautrec, Paris, 1935, pp. 78 and 178

J. Lassaigne, Toulouse-Lautrec, Paris, 1939, p. 165 (illustrated, pl. 58)

F. Jourdain, Lautrec, Paris, 1948, pl. 10 (illustrated)

W. Kern, Toulouse-Lautrec, Bern, 1948, pl. 10 (illustrated)

J. Palaiseul, "H. de Toulouse-Lautrec, le grand petit homme", Noir et Blanc, April, 1951, p. 279 (illustrated)

J. Adhémar and F. Jourdain, T. Lautrec, Paris, 1952, p. 118,

no. 31 (illustrated, pl. 31)

M.G. Dortu, Toulouse-Lautrec et son oeuvre, New York, 1971, vol. II, p. 200, no. 371 (illustrated, p. 201)

G. Caproni and G.M. Sugana, L'opera completa di Toulouse-Lautrec, Milan, 1977, p. 104, no. 268 (illustrated)

provenance

Michel Manzi, Paris; first sale, Galerie Manzi, Paris, March 14, 1919, lot 95 (illustrated, p. 17)

Pierre Decourcelle, Paris; sale, Hôtel Drouot, Paris, June 16, 1926, lot 76 (illustrated)

Reynaldo Hahn, Paris (acquired at the above sale)

Paul Rosenberg, Paris

Jakob Goldschmidt, Berlin

Acquired by the present owner's father before World War II


*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.

*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.


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