Philandering impedes, as everyone knows, the ability to concentrate.
Toulouse-Lautrec [tuluz lotʁɛk] was a French, post-impressionist artist. Being an inquisitive and theatrical aristocrat, he lingered in pursuit of the eccentric, the risque, and the dreamlike images of Parisian nightlife. Monsieur Toulouse-Lautrec was very extrospective when it came to attending the cabarets and focused on little details in a crowd. Before his death from pycnodysostosis, the portraits he captured became reminiscent of the wild, bourgeois society that was infesting the times and was to be born again through his eyes.
Toulouse-Lautrec’s main ingredient was awareness. For example, he tended to manifest tableau of female courtesans to articulate the representation of this festive but also melancholic era. Themes of anthropology are encompassed in glimpses of this French life, circulating around personal expressions in communal settings. A principle in Monsieur Henri’s work is attentiveness in otherwise fogged spectacles of the public.
This first painting has sometimes adopted the name “La Promenade”. A bumptious couple, notable by the disconnection they share from the other french attendees, strut through a music hall. With forward stares and stance, this suited gentlemen and dame are dressed eloquently though she, emotionally pensive, and he, fatigued and faded. Two figures are in the left of their shadow and bear remarkably similar look, except the male is a sickly blue. Easily dismissed by viewers at glance, their feet are replaced by a trail leading back to the couple’s legs despite everyone else having obvious feet. Again, the ghost-like couple in the background is evermore gloomier and exaggerated than their dominant, doppelgängers in the foreground of the image. Maybe the two couples are connected in figuration. One is a display of emotions that cloud their auras, for the woman’s counterpart is in grief and the man’s counterpart is in ghastly condition. However, you can be the judge on deciding whether one of their conditions is a direct effect on the other; for example, the male’s sickness brings about the lady’s anxiety (and/or vice versa). A lively tune is the backdrop of this painting with the chamber orchestra in a balcony and dancing of guests under lanterns.
“En cabinet particulier au rat mort” presumably features Lucy Jourdon, a high-class prostitute, in a dining area where she smiles with a mildly exasperated look. The woman is portrayed by Toulouse-Lautrec as wearing a bizarre coiffure with a ribbon and lavish fabrics, which makes her whole body look like as if it is a wrapped gift basket. Tying to her previously mentioned occupation, the visual similarities to a gift is significant because she likewise presents herself as one to men.
Unlike the other paintings, Henri de Toulouse-Lautrec constructs “Étude d’une danseuse” with distressed design. The conventional girl in this photo isn’t in the motions of dancing but she holds her head in unknown cause- Pain? Fatigue? Thought? The rigidness of this image is centered around her head and face- signifying her thoughts condensing and spilling into the space around her. Perhaps the stress of conformation into the art of dance makes the ballerina unleash violet waves of rampantness from her inner-self.