STOP 3: Jane Avril at the Jardin De Paris 1893, Henri De TOULOUSE-LAUTREC Music: Cancan/ Orchestra Narrator: Jane Avril Holds H

Total Page：16

File Type：pdf, Size：1020Kb

STOP 3: Jane Avril at the Jardin de Paris 1893, Henri de TOULOUSE-LAUTREC Music: Cancan/ orchestra Narrator: Jane Avril holds her leg up high as she dances the cancan. One contemporary critic, Arsène Alexandre, described her style: She is a strange dancer - lost in an immense bonnet in these light, flowing and tumultuous silks, with the thin, fine face of a little working-class rabbit. Anaemic and determined, the dancer performs a step that is a must-see – one leg thrown out wildly in front, while her two hands grasp her orange skirt, making it perform grand undulating movements, alternately up and down, following the rhythm, making you think of an orchid in a frenzy. Narrator Avril commissioned Lautrec to create this poster advertising her debut performances at the Jardin de Paris - an open-air dance hall in the gardens of the Champs-Élysées. It is a captivating image. The neck of the double bass scrolls round, framing Avril in her bright skirts. With this unusual view, the artist places the spectator in the orchestra pit, drawing us close to the action. Avril was quick to see the potential of using posters to advertise her personal brand. And her alliances with artists – especially Lautrec – helped her become one of the most famous stars of her day. This began with the Moulin Rouge – which remained Avril’s favourite venue. SFX: Street sounds, fairground sounds, including laughter and shouts of delight The Jardin de Paris was one of the city’s most popular café- concerts, combining the attractions of a concert hall, dance hall and fairground. It even had a diorama and an entrance hall filled with crazy mirrors! .

Copy Link

Recommended publications

Toulouse-Lautrec, Paintings, Drawings, Posters
Lautrec Digitized by the Internet Archive in 2012 with funding from Metropolitan New York Library Council - METRO http://archive.org/details/toulouseOOmkno Toulouse-Lautrec PAINTINGS DRAWINGS • POSTERS LOAN EXHIBITION FOR THE BENEFIT OF THE MUSEE D'ALBI • FRANCE NOVEMBER 15 TO DECEMBER 11 • 1937 ! (Je,'j2a,^ 7 AT THE GALLERIES OF M. KNOEDLER AND COMPANY • INC. FOURTEEN EAST FIFTY-SEVENTH STREET • NEW YORK CITY 5 PAINTINGS 1 COUNT ALPHONSE DE TOULOUSE-LAUTREC CONDUISANT SON MAIL COACH A NICE 1 88 1 Musee du Petit Palais 2 LA COMTESSE NOIRE 1 8 8 1 M.Sere de Rivieres 3 PORTRAIT DE MADAME ALINE GIBERT 1887 4 PORTRAIT DU PEINTRE FRANCOIS GAUZY 5 MADEMOISELLE DIHAU AU PIANO 1890 Musee d'Albi 6 M. DESIRE DIHAU, BASSON DE l'oPERA 1891 Musee d'Albi 7 PORTRAIT DU PHOTOGRAPHE PAUL SESCAU 1891 Brooklyn Museum 8 LA FEMME AU CHIEN. ARCACHON 1891 9 PORTRAIT DE M. HENRI DIHAU DANS SON JARDIN 1891 Musee d'Albi IO LA FEMME AU BOA NOIR 1892 Musee National du Luxembourg I I AU MOULIN ROUGE 1892 Art Institute of Chicago I 2 PORTRAIT DE M. LOUIS PASCAL 1893 Musee d'Albi I Musee d'Albi 3 PORTRAIT DE JANE AVRIL 1893 14 MONSIEUR BOILEAU AU CAFE 1893 Cleveland Museum of Art 1 JANE AVRIL DANSANT 1893 16 MONSIEUR, MADAME ET LEUR PETIT CHIEN 1893 Musee d'Albi I 7 AU SALON 1894 Musee d'Albi 1 8 FEMME COUCHEE SUR LE DOS LES BRAS LEVES 1894 Musee d'Albi 19 LA CLOWNESSE CHA-U-KAO 1895 Lent anonymously 20 MISS MAY MILTON 1895 Mr.
[Show full text]
Packet 19. Jane Avril Poster and Coloring Page
Jane Avril By Toulouse-Lautrec [Cover this area before printing. Page is designed for creating a two-sided copy for the previous coloring page. Coloring pages are designed for kids to share the information at home that was discussed in the Art Discovery presentation, and are NOT FOR USE AS THE ART DISCOVERY PROJECT!] Jane Avril By Henri Toulouse Lautrec (tuh LOOZ luh TREK) 1893 In Paris during the 1880’s and 1890’s, long before rock concerts, CDs, I-pods, even radios or television, people went to music halls or cabarets (cab arrays) for entertainment. Most of these places used large, brightly colored posters to advertise the performers. The posters were hung on outside city walls all over Paris. They were called “the art of the streets”. More than a hundred years later, the shows these posters advertised have been forgotten, but some of the original posters still exist. The originals are very costly for modern poster collectors. These 19th century posters are still so popular that many copies are printed, framed and sold today. Henri Toulouse Lautrec loved the nightlife in Montmartre. This was an area located on a hill in the north of Paris, which at one time was just outside the city limits and dotted with grain mills. The area developed into a nightclub district and, because rent was cheap here, it was also an area where many struggling young artists of the 19th century could afford housing or art studios. Two of the best-known cabarets or music halls in Montmartre were “Le Chat Noir” (the Black Cat) and “Moulin Rouge” (the Red Mill).
[Show full text]
Toulouse-Lautrec and the Stars of Paris
TOULOUSE-LAUTREC AND THE STARS OF PARIS TOULOUSE-LAUTREC and the StarS of PariS | 1 | TOULOUSE-LAUTREC and the StarS of PariS HELEN BURNHAM with contributions by MARY WEAVER CHAPIN and JOANNA WENDEL MFA Publications | Museum of Fine Arts, Boston | 2 | | 3 | Contents directors’ foreword | 6 foreword Mary Weaver Chapin | 9 spectacular and subtle: the art of toulouse-lautrec Helen Burnham | 13 Yvette Guilbert | 23 Jane avril | 39 aristide bruant | 53 Marcelle lender | 65 MaY belfort | 77 loïe fuller | 89 notes | 99 list of illustrations | 103 further reading | 108 acknowledgments | 111 | 4 | toulouse-lautrec and the stars of paris Foreword MARY WEAVER CHAPIN henri de toulouse-lautrec was the right performers of all varieties could be seen in artist at the right time. The time was fin-de- shop windows, purchased by fans, and viewed siècle Paris, a moment when a vast array in three dimensions through stereoscopes. of entertainment options was springing up Collectors created albums focusing on particu- around the city, performers were attracting lar stars or private portfolios of erotic poses increasing attention and fame, and the color by cancan dancers and circus performers, poster and lithograph were reaching new bringing the public performer into the private artistic and commercial heights. The artist was domestic world. The development of large- Henri-Marie-Raymond de Toulouse-Lautrec- scale color lithography was another milestone; Montfa, the descendant of an old and distin- by the 1880s, bright posters dominated the guished aristocratic family from the south of streets of Paris, advertising everything from France. Blessed with a quick and witty graphic the most elevated opera to gritty cabarets talent, a keen understanding of performance, artistiques.
[Show full text]
Henri De Toulouse-Lautrec from Wikipedia, the Free Encyclopedia
Henri de Toulouse-Lautrec From Wikipedia, the free encyclopedia Henri Marie Raymond de Toulouse-Lautrec-Monfa or simply Henri de Toulouse-Lautrec (French: [ɑ̃ʁi də tuluz lo Henri de Toulouse-Lautrec ˈtʁɛk]; 24 November 1864 – 9 September 1901) was a French painter, printmaker, draughtsman and illustrator whose immersion in the colourful and theatrical life of Paris in the late 1800s yielded a collection of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. Toulouse-Lautrec – along with Cézanne, Van Gogh and Gauguin – is among the most well-known painters of the Post-Impressionist period. In a 2005 auction at Christie's auction house, a new record was set when La blanchisseuse, an early painting of a young laundress, sold for US$22.4 million.[1] Contents 1 Early life 2 Disability and health problems 3 Paris 4 London Henri de Toulouse-Lautrec 5 Alcoholism Birth Henri Marie Raymond de Toulouse- 6 Death name Lautrec-Monfa 7 Art 8 Selected works Born 24 November 1864 8.1 Paintings Albi, Tarn, France 8.2 Posters Died 9 September 1901 (aged 36) 8.3 Photos Château Malromé, France 8.4 Signature Nationality French 9 In popular culture Field Painter, printmaker, draftsman, 10 References illustrator 11 Further reading 12 External links Movement Post-Impressionism, Art Nouveau Early life Henri Marie Raymond de Toulouse-Lautrec-Monfa was born at the chateau du Bosc in Albi, Tarn in the Midi- Pyrénées région of France, the ﬁrstborn child of Comte Alphonse de Toulouse-Lautrec-Monfa and Adèle Tapié de Celeyran. He was therefore a member of an aristocratic family (descendants of the Counts of Toulouse and Lautrec and the Viscounts of Montfa, a village and commune of the Tarn department of southern France).
[Show full text]
Mamie Cox Depictions of Power: Henri De Toulouse Lautrec and The
Cox 1 Mamie Cox Depictions of Power: Henri de Toulouse Lautrec and the Montmartre Performer Independent Study: Henri de Toulouse Lautrec and Montmartre 10 May 2013 Cox 2 Renowned draftsman, printmaker, and painter Henri de Toulouse-Lautrec is made most famous by his depictions of performers. Female dancers, sex workers, and circus performers dominate many of his most well-known works. With their stereotypically low social class, sexualized performances, bare outfits, and attention gained from members of the opposite sex, it is sometimes easy to place female performers such these in the role of a powerless victim of commodification. Lautrec, however, through his dynamic depictions of these sexualized performances, subverts this notion and instead depicts these women as celebrities in power of their situation and surroundings. Throughout his tragically short but prolific artistic life, Henri de Toulouse-Lautrec was fascinated with the art of dance. Born with an unknown genetic defect traditionally attributed to inbreeding, Lautrec suffered from weak bone strength, stunted growth, and extreme difficult mobility his entire life. Despite this disability, Lautrec always found himself drawn to the art of movement. First, of the horses at his aristocratic family’s country estate and then of the performers that populated the Opera, café-concerts, dance halls, and circuses of Paris. 1 In early adulthood, Lautrec found himself drawn to the bohemian world of the emerging Montmartre, Paris. Set upon a hill, and removed from the city center, Montmartre had an identity separate from that of the more conservative central Paris.2 Montmartre’s dance halls, cabarets, café-concerts, brothels, and circuses created a racy, uncensored atmosphere that attracted working-class residents of the district, as well as thrill-seeking bourgeois patrons from central Paris and beyond.
[Show full text]
THE PARIS of TOULOUSE-LAUTREC FEATURES OVER 100 PRINTS and POSTERS from Moma’S COLLECTION
THE PARIS OF TOULOUSE-LAUTREC FEATURES OVER 100 PRINTS AND POSTERS FROM MoMA’S COLLECTION The Paris of Toulouse-Lautrec: Prints and Posters July 26, 2014–March 22, 2015 The Paul J. Sachs Prints and Illustrated Books Galleries, second floor NEW YORK, June 25, 2014—The Museum of Modern Art presents The Paris of Toulouse- Lautrec: Prints and Posters, an exhibition dedicated to Henri de Toulouse-Lautrec and drawn almost exclusively from MoMA’s collection of posters, lithographs, printed ephemera, and illustrated books, on view from July 26, 2014, to March 22, 2015. A preeminent artist of Belle Époque Paris, Henri de Toulouse-Lautrec (1864–1901) brought the language of the late-19th- century avant-garde to a broad public through his famous posters, prints, and illustrations for journals and magazines. His work allows entry into many facets of Parisian life, from politics to the rise of popular entertainment in the form of cabarets and café-concerts. Organized thematically, the exhibition explores five subjects that together create a portrait of Lautrec’s Paris: café- concerts and dance halls; actors, singers, dancers, and performers; his sensitive depictions of women from all walks of life, including his landmark portfolio Elles, depicting prostitutes during nonworking hours; his creative circle, highlighting designs for song sheets for popular music, programs for avant-garde theatrical productions, and his contributions to magazines and intellectual reviews; and the pleasures of the capital. The exhibition features over 100 examples of the best-known works created during the apex of his career. The Paris of Toulouse-Lautrec: Prints and Posters is organized by Sarah Suzuki, Associate Curator, Department of Drawings and Prints, MoMA.
[Show full text]
“Turning Points: Jane Avril in Paris” Popular Culture Association Meeting 2015 by Victoria Olsen in 1884, An
“Turning Points: Jane Avril in Paris” Popular Culture Association meeting 2015 by Victoria Olsen In 1884, an adolescent girl institutionalized at the Salpetriere Psychiatric Hospital in Paris attended a “mad ball” to celebrate Mardi Gras. She suffered from St. Vitus Dance, a neurological disease now called Sydenham’s chorea that causes compulsive twitching. That night at the ball she began to dance— with strange disjointed movements and great passion. An audience formed and applauded. Much later the woman claimed that was the turning point in her life: when she realized that what had been called mental illness she could claim for herself as art. “Alas,” she wrote, “I was cured.” The hospital had been a safe haven from an abusive mother, but when she left she was able to reinvent herself, changing her name to Jane Avril. By 1889 she was a star dancer at the Moulin Rouge and soon afterwards a friend and model for the painter Henri de Toulouse Lautrec. Her dancing— a variant of the new can can— drew crowds, and her image—tall, thin, red-haired, pointy-nosed— sold posters. [SEE IMAGE] This was not the only “turning point” that Jane identified in her memoirs. There are other places too where she uses phrases like “then my new life began….” This paper focuses on the role of turning points in Jane Avril’s life and in life-writing in general. As biographers, we use turning points as a way to organize a narrative, the “story” part of the life story, but these turning points inevitably close doors as well as open them.
[Show full text]
(Albi, 1864- Malromé, 1901) Biography of a Many-Sided Artist
HENRI DE TOULOUSE-LAUTREC (Albi, 1864- Malromé, 1901) Biography of a many-sided artist Henri-Marie Raymond de Toulouse-Lautrec-Monfa , was born on November 24th 1864 at Albi, to one of the oldest families of the provincial nobility. His mother, Adèle Tapié de Celeyran , married her cousin Alphonse, count of Toulouse-Lautrec , a brilliant horseman with a passion for the hunt and horses, like all his line. Henri grew up between the château du Bosc , situated to the North of Albi in the Rouergue and the château de Céleyran , near Narbonne. The year 1878 was marked by an accident which happened in the living room of the house where he was born: rising from a low chair Henri slipped and broke his left femur; a year later he fractured the other leg after a slight fall. Lautrec suffered from a hereditary disease of the bones probably due to his parents close blood relation. It was to have a decisive effect on the young man’s destiny. Immobilised for months on end, he filled his days with drawing, then painting, developing a taste which Henri de Toulouse-Lautrec and his friends at was widely followed in his entourage, and a gift which he had the Moulin de la Galette, (ca.1887) shown when very young, and which was to become his vocation. From 1882, Lautrec completed his training first at Leon Bonnat’s academic workshops, then with Fernand Cormon , in Montmartre. His immersion in the Montmartre life completed his transformation: faced with all the artistic movements which he discovered in the Parisian galleries, he took to modernity, and became as much an actor as a spectator in the Bohemian life of Montmartre which was to provide his inspiration.
[Show full text]
Divan Japonais: Toulouse-Lautrec and Japanese Art Eva Maria Raepple College of Dupage, [email protected]
College of DuPage [email protected]. Philosophy Scholarship Philosophy 1-1-2008 Divan Japonais: Toulouse-Lautrec and Japanese Art Eva Maria Raepple College of DuPage, [email protected] Follow this and additional works at: http://dc.cod.edu/philosophypub Part of the Asian Art and Architecture Commons, and the Philosophy Commons Recommended Citation Raepple, Eva Maria, "Divan Japonais: Toulouse-Lautrec and Japanese Art" (2008). Philosophy Scholarship. Paper 1. http://dc.cod.edu/philosophypub/1 This Article is brought to you for free and open access by the Philosophy at [email protected].. It has been accepted for inclusion in Philosophy Scholarship by an authorized administrator of [email protected].. For more information, please contact [email protected]. Divan Japonais: Toulouse-Lautrec and Japanese Art In 1896, during a tour of Loire Chateauxs, Maurice Joyant (1864-1930), a life-long friend and biographer of Henri Toulouse-Lautrec’s (1864-1901) works, happens to reveal his admiration for Claude Monet’s (1840-1926) series of landscape paintings, portraying the Seine at Giverny. Lautrec brusquely interrupts his friend and responds: Nothing exists but the figure, the landscape is and should be insignificant, only an accessory: the landscape painter is a nothing short of a brute artist. The landscape should not serve any other purpose than to enhance an understanding of the character of the figure ….What figure might Monet have released had he not given up to paint these.”1 Lautrec’s passionate reply speaks eloquently of his deep interest in the human being. Entangled in life’s antagonism of ugliness and beauty, Lautrec portrays the impertinence, the noble, the ferocious, the gentle, the exotic as well as the obscene with an indifference that is as merciless as it is compassionate.
[Show full text]
Art and Medicine in the Lives of Late 19Th-Century Artists Henri De Toulouse- Lautrec and Vincent Van Gogh Smith Jessie University of Mississippi
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2017 A Picture of Health: Art and Medicine in the Lives of Late 19th-Century Artists Henri de Toulouse- Lautrec and Vincent van Gogh Smith Jessie University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the Art and Design Commons Recommended Citation Jessie, Smith, "A Picture of Health: Art and Medicine in the Lives of Late 19th-Century Artists Henri de Toulouse-Lautrec and Vincent van Gogh" (2017). Honors Theses. 867. https://egrove.olemiss.edu/hon_thesis/867 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. THE PICTURE OF HEALTH: ART AND MEDICINE IN THE LIVES OF 20th-CENTURY ARTISTS HENRI DE TOULOUSE-LAUTREC AND VINCENT VAN GOGH by Jessie MArye Smith A thesis submitted to the fAculty of The University of Mississippi in pArtiAl fulfillment of the requirements of the SAlly McDonnell BArksdAle Honors College. Oxford, MS May 2017 Approved by ________________________________________________ Advisor: Professor Kris Belden-AdAms _________________________________________________ Reader: Professor Colin Jackson _________________________________________________ Reader: Professor Virginia Rougon Chavis © 2017 Jessie MArye Smith ALL RIGHTS RESERVED ii Acknowledgements I cAnnot imagine hAving completed this thesis without the constAnt support of so many people I Am lucky to hAve in my life. I owe An endless Amount of thAnks to my thesis Advisor, Dr.
[Show full text]
Mes Mémoires
Jane Avril (Jeanne Louise Beaudon) MES MÉMOIRES Illustrations de Bécan, peintures et affiches : Henri de Toulouse-Lautrec 1933 édité par les Bourlapapey, bibliothèque numérique romande www.ebooks-bnr.com Table des matières [AVANT-PROPOS] ................................................................... 5 (Parution du 7.8.1933) ............................................................... 5 CHAPITRE PREMIER .............................................................. 7 [I] ................................................................................................. 7 (Parution du 8.8.1933) ............................................................. 12 II ................................................................................................ 15 (Parution du 9.8.1933) ............................................................. 18 (Parution du 10.8.1933) ........................................................... 24 CHAPITRE II .......................................................................... 26 (Parution du 11.8.1933) ............................................................ 29 CHAPITRE III ......................................................................... 33 (Parution du 12.8.1933) ........................................................... 36 (Parution du 13.8.1933) ........................................................... 40 (Parution du 14.8.1933) ........................................................... 47 (Parution du 15.8.1933) ..........................................................
[Show full text]
Toulouse-Lautrec a Stand-Alone Celebrity Artist
Toulouse-Lautrec: A Stand-Alone Celebrity Artist Essay by Allison Marino At the end of the 19th century, Paris was the epicenter of a poster craze. Jules Chéret’s advancement of the lithographic process in 1880 lowered the cost and effort required to produce posters, and soon Paris was saturated with colorful advertisements promoting everything from theater to consumer goods. Although Chéret is often considered the father of the modern poster for his role in streamlining production, it was Henri de Toulouse-Lautrec who raised the medium’s rank to fine art in 1891 with his infamous poster advertisement for the Moulin Rouge.1 Soon after, posters were being commissioned and showcased in exhibitions as fine art. The poster evolved as an egalitarian art form. Unlike painting and sculpture – which required lengthy, tedious production – the poster was mass produced and widely disseminated. Available to a wider audience on urban streets, the medium became a point of discussion for members of all classes; consequently, the poster became more popular with contemporary artists, such as Pierre Bonnard and Théophile Steinlen. Toulouse-Lautrec, however, distinguished himself from other poster artists of the period, his unparalleled fame resulting from his unique style and intimate relationships with his subjects. Unmatched by his contemporaries, Toulouse-Lautrec defined his graphic style through large areas of bright, vivid colors, silhouetted and caricature-like depictions of famous subjects, and disorienting perspectives. These characteristics, along with broad passages of negative space, created flattened and compressed compositions that removed both his subjects and the viewer from any specific setting or time.
[Show full text]