Henri de Toulouse-Lautrec, the son of a highly aristocratic, titled, and wealthy French family, never attained quite five feet in height due to a rare disease. However, he was a giant among artists of his time and has left a legacy of images that illuminate for us what life was like at the fin de siecle. New York's Museum of Modern Art is now presenting an exhibition of Lautrec's graphic work which he produced from 1891, the year of his first poster commission, to 1901, when he died. This exhibit will be on view until January 26, 1986.
During his short lifetime, Lautrec produced over 700 canvases, nearly 300 watercolors, over 5,000 drawings, and approximately 365 posters and prints. From this prodigious output the museum has chosen more than 300 works showing the genius of his graphic production along with related drawings, paintings, trial proofs, and rare handcolored proofs.
Lautrec was born in 1864 to a loving, but somewhat domineering, mother and a womanizing father. When it became clear that Henri was not just "frail" or "sickly," mama embarked on a program of taking him to a series of health spas, seeking an always elusive cure for her son's malady. At age thirteen Henri broke his left thighbone, and year later he broke the other one. Subsequently all growth of his long bones ceased, and Lautrec was destined to be a dwarf.
Having shown artistic talent and interest from the age of twelve, Lautrec received some academic training shortly after he finished high school, and this improved his skill and naturally lively style. Because of his disability, the artist could not take part in the usual pursuits of young men of his class such as the military, or riding and hunting.
Lautrec decided to be a working artist--but this did not set well with his father, who insisted that he not disgrace the family name by using it on his work. In an attempt to appease his father a variety of appellations were employed by Lautrec to sign his early works.
Soon he was spending a great deal of time in bars, cafes, and brothels; he even went so far as to become a lodger in brothels during certain periods of his life. He occupied his time in these establishments sketching the performers, inhabitants, and patrons. So canny were his representations that they actually appear more realistic than do photographs of the same people of the period.
Lautrec was well-liked by men: they remember him as being quick-witted and humorous, generous and warm, with a sunny disposition. He drank and partied with friends from many walks of life, including the wealthy, fellow artists, and intellectuals, as well as denizens of the demimonde which he frequented so avidly. It was stylish in those days for the rich and highborn to spend an evening "slumming," where they would rub elbows with those socially inferior to themselves.
Lautrec's relationships with women, on the other hand, were always difficult. He bought their favors in bordellos, and otherwise played servile roles in complicated and unstable associations.
Towards the end of 1897, at age thirty-three, it became clear that Lautrec was in emotional trouble and was addicted to alcohol. His work suffered; he
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