Open Call for Toulouse-Lautrec Inspired Posters

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Along with the opening weekend of special exhibition Toulouse-Lautrec Illustrates the Belle Époque, we kicked off a poster contest inspired by the artist. We want to see your modern-day creations using the exhibition as a jumping off point. We’ll display the top five posters at April’s Phillips after 5 (in custom frames—thanks Framebridge!), plus print and distribute the winning poster to attendees. Did we mention there’s also a $200 cash prize? With representatives from the Phillips, Pyramid Atlantic Art Center, and A Creative DC, our panel of judges will evaluate submissions from a variety of perspectives and expertise.

Read the full call for entry here. Nothing beats a visit to the exhibition for some in-person inspiration, but here are some detail shots from the posters and prints in the show to get your wheels turning.

detail_The Simpson Chain

Henri de Toulouse-Lautrec, The Simpson Chain (detail), 1896. Brush, crayon, and spatter lithograph, printed in three colors. Key stone printed in blue, color stones in red and yellow on wove paper, 32 5⁄8 × 47 1/4 in. Private Collection

detail_Jane Avril 1893

Henri de Toulouse-Lautrec, Jane Avril (detail), 1893. Brush and spatter lithograph. Key stone printed in olive green on wove paper. Unrecorded trial proof, 47 5⁄8 × 34 5⁄8 in. Private collection

detail_Le Tocsin

Henri de Toulouse-Lautrec, Le Tocsin (detail), 1895. Brush and spatter lithograph, printed in two colors. Key stone before text printed in blue with a turquoise-green tint stone on wove paper, 22 1/2 × 17 13⁄16 in.

detail_May Belfort

Henri de Toulouse-Lautrec, May Belfort (detail), 1895. Crayon, brush, and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in red, black, gray, and yellow on wove paper, 31 5⁄16 × 24 in. Private collection

detail_Divan Japonais

Henri de Toulouse-Lautrec, Divan Japonais (detail, 1892–1893. Crayon, brush, spatter, and transferred screen lithograph, printed in four colors. Key stone printed in olive green, color stones in black, yellow, and red on wove paper, 31 3/4 × 23 15⁄16 in.

detail_Moulin Rouge, La Goulue

Henri de Toulouse-Lautrec, Moulin Rouge, La Goulue (detail), 1891. Brush and spatter lithograph, printed in four colors. Key stone printed in black, color stones in yellow, red, and blue on three sheets of wove paper, 75 3⁄16 × 46 1⁄6 in. Private collection

detail_Old Song

Henri de Toulouse-Lautrec, Old Song (detail), 1898, crayon lithograph, printed in black with a beige tint stone on laid paper. Only state, first edition, Yvette Guilbert album, plate 5, 11 9⁄16 × 9 9⁄16 in.

detail_Ambassadeurs, Aristide Bruant

Henri de Toulouse-Lautrec, Ambassadeurs, Aristide Bruant (detail), 1892. Brush and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in orange, red, blue and black on two sheets of wove paper, 52 15⁄16 × 36 5⁄8 in. Private collection

 

Images at top, from left to right: Henri de Toulouse-Lautrec, Moulin Rouge, La Goulue, 1891. Brush and spatter lithograph, printed in four colors. Key stone printed in black, color stones in yellow, red, and blue on three sheets of wove paper, 75 3⁄16 × 46 1⁄6 in. Private collection; Henri de Toulouse-Lautrec, The Simpson Chain, 1896. Brush, crayon, and spatter lithograph, printed in three colors. Key stone printed in blue, color stones in red and yellow on wove paper, 32 5⁄8 × 47 1/4 in. Private Collection; Henri de Toulouse-Lautrec, Jane Avril, 1893. Brush and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in yellow, orange, red, and black on wove paper, 48 13⁄16 × 36 in. Private collection

What’s in a Boxing Glove?

lovell_bleck

Whitfield Lovell, Bleck, 2008. Conté crayon on wood and boxing gloves, 44 1/2 x 21 x 11 in. Courtesy DC Moore Gallery © Whitfield Lovell and DC Moore Gallery, New York

Tableaux such as Bleck, showing boxing gloves dangling from a female figure, are examples of Whitfield Lovell testing assumptions and pressing us to “think a little deeper.” Why do we see a woman and not a man with these boxing gloves? Lovell has altered our usual frame of reference. When we view the gloves less literally, the combination may suggest the woman’s perseverance, strength, and struggle.

Whitfield Lovell: The Kin Series and Related Works is on view through Jan. 8, 2017.

William Wordsworth to Whitfield Lovell

lovell_kin-xxxv-glory-in-the-flower

Whitfield Lovell, Kin XXXV (Glory in the Flower), 2011. Conté on paper, vintage clock radio, 30 x 22 3/4 x 5 3/4 in. The Phillips Collection, Washington, DC, The Dreier Fund for Acquisitions, 2013 © Whitfield Lovell and DC Moore Gallery, New York

The subtitle of this work by Whitfield Lovell, a recent acquisition for the museum, is “Glory in the Flower,” which references the below poem by William Wordsworth. Why do you think Lovell chose this particular phrase for this work? Why do you think he chose a clock as the accompanying object to this portrait?

Though nothing can bring back the hour
Of splendor in the grass, of glory in flower;
We will grieve not, rather find
Strength in what remains behind;
In the primal sympathy
Which having been must ever be;
In the soothing thoughts that spring
Out of human suffering;
In the faith that looks through death,
In years that bring the philosophic mind.
–William Wordsworth, “Ode on Intimations of Immortality” from Recollections of Early Childhood, 1804

Whitfield Lovell: The Kin Series and Related Works is on view through Jan. 8, 2017.