At the Races

Each week for the duration of the exhibition, we’ll focus on works of art from Toulouse-Lautrec Illustrates the Belle Époque, on view Feb. 4 through April 30, 2017.

Jockey, The_Toulouse-Lautrec

Henri de Toulouse-Lautrec, The Jockey, 1899. Crayon, brush, and spatter lithograph, printed in six colors. Key stone printed in black, color stones in turquoise-green, red, brown, gray-beige and blue on China paper. State II/II, 20 3/8 × 14 1/4 in. Private collection

In 1899, Toulouse-Lautrec’s family committed him without consent to a clinic on the rue de Madrid, Neuilly. He expressed despair to his father: “I am locked up and anything that is locked up dies.” Excursions to the Bois de Boulogne, where the famous Longchamp Racecourse was located, provided him with some diversions. His final lithographs show animals, sporting events, and outdoor activities, subjects fondly remembered from his youth. The Jockey is from a series of four racing prints. This dynamic work, the only one published, places the viewer amid the action. The jockeys rise out of their saddles and encourage their horses down the track. The print shows Toulouse-Lautrec’s awareness of Eadweard Muybridge’s pioneering photographs of a horse at a gallop and Edgar Degas’s influential paintings and drawings of horses with their jockeys.

A Familiar Face

TL mural Adams Morgan

Toulouse-Lautrec inspired mural in Washington, DC’s Adams Morgan neighborhood. Photo: Britta Galanis

On the bustling sidewalks of 18th Street, NW, in DC’s Adams Morgan neighborhood, you might notice something familiar. A vibrant mural of one of Toulouse-Lautrec’s most famous posters of the singer Aristide Bruant has been residing in the area for over a decade. Starting off as Café Lautrec, the space is a 2,100 square foot storefront that was owned by André Neveux. The café’s name later changed to Café Toulouse. Neveux, who was the original owner of the space, painted the mural on the building. It has since closed, but the mural lives on.

We here at the Phillips can’t help but chuckle at the parallels between the proximity of Toulouse-Lautrec works and Tryst café. This Toulouse-Lautrec inspired mural is just a few storefronts down from the original Tryst café, and our current Toulouse-Lautrec exhibition is just a couple of floors up from Tryst at the Phillips.

Britta Galanis, Marketing & Communications Intern

Taking Inspiration From Degas and Utamaro

Each week for the duration of the exhibition, we’ll focus on one work of art from Toulouse-Lautrec Illustrates the Belle Époque, on view Feb. 4 through April 30, 2017.

Divan Japonais_Toulouse-Lautrec

Henri de Toulouse-Lautrec, Divan Japonais, 1892–93. 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. Private collection

Divan Japonais advertises the reopening of a café-concert located on the rue des Martyrs, renovated to be Japanese in theme. For this work, Toulouse-Lautrec adapted a Japanese aesthetic—flat cropped shapes, unusual vantage points, dark contours, and vibrant colors—featured in work like Kitagawa Utamaro’s The Nakadaya Teahouse. By the 1880s, Toulouse-Lautrec had seen ukiyo-e prints at Paris galleries and the Exposition Universelle. Like many of his contemporaries, Toulouse-Lautrec collected Japanese art and even ordered specialty supplies from Japan.

For the poster, Toulouse-Lautrec also modified key motifs from Edgar Degas’s influential painting The Orchestra at the Opera, such as the cropped view of a performance and the stage obstruction of the double bass. He shows Jane Avril as a spectator, clad in a black dress and hat, with her date, critic Édouard Dujardin, a great supporter of Japanese art. Both appear more engaged in their surroundings than the entertainment. On stage, distinguished by her long black gloves, is singer Yvette Guilbert, her head cropped by the curtain. Guilbert described the venue: “I mustn’t raise my arms incautiously or I should knock them against the ceiling. Oh! That ceiling where the heat from the gas footlights was such that our heads swam in a suffocating furnace.”