Henri de Toulouse-Lautrec

Lautrec Monfa, Henri Marie Raymond de Toulouse
Monfa, Henri Marie Raymond de Toulouse-Lautrec

French, 1864 - 1901

Explore Selected Works

See all 327 works of art
Shown from the lap up, a man wearing an ash-brown suit and top hat sits turned mostly away from us, next to a round table, facing a group of at least three women farther back in the room in this vertical painting. The scene is loosely painted with visible, mostly vertical strokes, and most of the forms, clothing, and objects are outlined in cobalt blue. Sitting in a wooden, ladderback chair, the man’s body takes up the bottom right quadrant of the painting. His skin is painted pale turquoise. His face turns away from us so we see the tip of his nose and the lines of his cheek and double chin. He has short brown hair under his top hat. He holds a silver-topped cane in one hand, which rests in his lap. A glass with some clear liquid sits on the table in front of him, to our left. A peanut-brown column spans the height of the painting just beyond him, near the right edge of the composition. Three women stand closely together in the near distance, in the upper left corner of the painting. At the front of the trio, a woman with a peach-colored face wears an indigo-blue mask over her eyes. A few swipes of paint indicate blond hair, possibly pulled up. She faces our right in profile and stands with her right hand, closer to us, planted on her hip. She wears a bubblegum-pink sleeveless top and form-fitting pants. The skin of her arm and the skin on the face of the woman standing just beyond her is a cream-white tinged with blue. That second woman faces our right in profile, and her blond hair is either short or also pulled up. A teal-green strap of a low-cut dress crosses over the shoulder we can see. A third woman stands in front of this pair, between them and the seated man. She faces away from us and wears a cotton candy-pink robe and hood that completely covers her body. The wall at the back of the room is painted with areas of brick red, moss green, and a grayish mauve pink.
Henri de Toulouse-Lautrec, Maxime Dethomas, 1896, oil on cardboard, Chester Dale Collection, 1963.10.219

Maxime Dethomas

Henri de Toulouse-Lautrec · 1896 · oil on cardboard ·  Accession ID  1963.10.219

We look slightly down onto a stage, at a woman who dances at the center of this square painting. The pale, white skin on her face is tinged with slate-blue shadows and heightened noticeably with pink blush at the cheekbones. She wears crimson-red lipstick and her dark brown eyebrows are peaked over blue eyes. Two flaring pink flowers, each about the size of the woman’s face, are pinned in the woman’s flame-red hair. The black bodice of her dress has puffed, elbow-length sleeves and a low-cut square neckline. The lime-green skirt flares around her dancing feet to billow up and reveal layers of bubblegum pink underneath. Her body is angled to our left as she points her left, black-stockinged foot and holds her arms by her sides. Behind her, thirteen people dressed in sapphire-blue, ocean-green, and black costumes suggest a royal court, including a dark-haired man who wears a brick-red bolero style suit. He stands near the woman to our right, watching her dance.
Henri de Toulouse-Lautrec, Marcelle Lender Dancing the Bolero in "Chilpéric", 1895-1896, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1990.127.1

Marcelle Lender Dancing the Bolero in "Chilpéric"

Henri de Toulouse-Lautrec · 1895-1896 · oil on canvas ·  Accession ID  1990.127.1

Shown from the knees up, two pale-skinned women stand in profile facing our left, holding their skirts around their waists so their buttocks and thighs are exposed in this vertical painting. The scene is streaked with opalescent, loose strokes and stringy lines that resemble drawing. Both women wear dark green, thigh-high stockings and step forward onto one foot. They faintly smile as they look ahead of them with heavy-lidded eyes. The woman on our left has blond hair gathered at the back of her neck and a fleshy, jowly face. Her lilac-purple, sleeveless garment hangs loosely from her shoulders. The woman on our right has flame-red hair, a flushed face, and round cheeks. Her mint-green garment is hooked over her shoulders like a short cape. Strokes of light brown, petal pink, teal blue, and dusty rose are layered over their pale buttocks and thighs. A third woman behind them and to our right faces away from us. Her dress is blocked in with spruce green, and she has brown hair. The walls of the room are painted with crimson-red lines against the brown of the cardboard on which this is painted. A shimmering blue rectangle could be a window or reflective surface on the far wall. The artist signed the lower right corner with interlocking capital H, T, and L.
Henri de Toulouse-Lautrec, Rue des Moulins, 1894, 1894, oil on cardboard on wood, Chester Dale Collection, 1963.10.69

Rue des Moulins, 1894

Henri de Toulouse-Lautrec · 1894 · oil on cardboard on wood ·  Accession ID  1963.10.69

A man and two women standing near a bar nearly fill this vertical painting. Though made with oil on cardboard, the paint is applied in thin strokes, so parts of the painting look more like a drawing, and the tan of the cardboard is visible in many areas. Shown from the thighs up at the center of the composition, the man stands with his back to us, looking away from us to our left, almost in profile. The camel-brown of the cardboard acts as the color of his jacket and the skin of his face, which are otherwise delineated with cobalt-blue and violet-purple lines. He wears a dark bowler hat, and a white cigarette dangles in his lips. A few scribbled black lines could suggest a mustache. Hands thrust into his pockets, he looks down at the bar, which a runs along left edge of the composition. Squeezed between the man and the glasses on the bar, a woman wearing a teal-blue feather boa leans one elbow on the bar and looks back at the man from the corners of her eyes. Her skin is rose-pink and she has curly red hair. Her arched, thin eyebrows and snub nose are set in a round face with a double chin, and her crimson-red lips are pursed. She wears a ruby-red dress or coat and a turquoise-blue, wide-brimmed hat with bubblegum-pink ribbons or feathers. Two small, stemmed glasses sit on the bar in front of the man and woman. Behind the bar, along the left edge of the painting, a man wears a dark vest over a shirt with sky-blue sleeves. A light cloth lies over the shoulder closer to us and he has dark hair. The rest of his features are lost behind the woman’s hat. To our right, beyond the man’s shoulder, a woman stands with her body facing us as she tips back and looks off to our right. She wears a long, black tie over a pale blue, high-necked shirt. One hand is tucked into a pocket on the front of her jacket, which is streaked with mint green over the brown cardboard. Loosely painted vertical stripes below her waist suggests she wears a skirt, indicating this is a woman, though it might otherwise be difficult to tell. She wears a low, royal-blue cap with an emerald-green feather curling up from the back over a cloud of yellow hair. Only the gray bowler hat, ruddy skin around the ear, and a teal-green jacket of a fifth person are visible between that woman and the right edge of the composition. The wall at the back of the space is tan with shell-pink streaks, and a sign with a red triangle against a turquoise background is cropped by the right edge of the painting. The scene is sketchily painted so features are outlined with blue or brown and filled in with streaks of pale color. The artist inscribed the painting in the lower right corner, “pour Metenier d'apres son Alfred la Guigne HTLautrec,” with the HTL overlapping to create a monogram.
Henri de Toulouse-Lautrec, Alfred la Guigne, 1894, oil on cardboard, Chester Dale Collection, 1963.10.220

Alfred la Guigne

Henri de Toulouse-Lautrec · 1894 · oil on cardboard ·  Accession ID  1963.10.220

A man and woman standing with their backs to us face a room where others stand or pose in this vertical painting. Though made with oil on cardboard, the paint is applied loosely with visible strokes so the painting looks more like a pastel drawing. The people have peach-colored or mint-green skin. Cut off by the left edge of the painting, the man wears a black top hat and suit. We only see the short blond hair behind one ear and the jutting cheekbone and jaw of his profile. The woman takes up almost the left half of the picture. She wears a flat, brown coat outlined in royal blue, a fur stole around her neck, and a blue hat with flowers. Her brown hair is pulled up, and she looks to our right in profile with pale, nearly ash-white skin. Across from the couple, to our right and farther into the room, a woman wearing a teal-green dress stands with her feet planted wide so her feet flare out and her hands on her hips. Her body is squared toward the couple, and she looks off to our left. A black hat perches on her yellow hair, which is piled atop her head. She cocks one eyebrow over green eyes, and her lips curl in a lopsided sneer over a double chin. A tawny-brown corset under her bust cinches her waist. She gathers the skirt in fistfuls with each hand to reveal white petticoats and black boots or shoes. Two more people stand facing away from us behind her and to our left. Seen between the first pair and this woman, the man here also wears a black top hat and suit, and he has orange hair. The woman has brown hair. Her bodice is vivid pink, and the skirt is dark brown. An arc of white from the hem of her skirt up to her head suggests she has flung that side of the skirt up. Another woman’s face cast with green is tucked between the heads of the first couple. That woman looks off to our left under lifted brows with a drooping mouth. The two couples face a structure with columns supporting a roof, probably a bandstand, in the upper right quadrant of the composition. The ground in the lower half of the picture is streaked with sable brown and olive green. The rest of the background behind the bandstand is filled with sea green against the brown board on which this was painted. An indistinct red mark in the lower right corner has the artist’s initials intertwined, “HTL.”
Henri de Toulouse-Lautrec, Quadrille at the Moulin Rouge, 1892, oil on cardboard, Chester Dale Collection, 1963.10.221

Quadrille at the Moulin Rouge

Henri de Toulouse-Lautrec · 1892 · oil on cardboard ·  Accession ID  1963.10.221

Seven people with cream-white skin crowd together, sitting at or standing among tables in an interior space in this vertical painting. The composition is dominated by shades of blue and pale green. On the right side and closest to us, a woman sits opposite a man at a butter-yellow table, both facing our left in profile. The table extends in from the right, almost halfway up the canvas. The pair are shown from the knees up and span most of the height of the painting. The woman wears a long, teal-blue jacket over a peanut-brown skirt and a frilled cap topped with a pine-green bow. The man wears an olive-green bowler and cinnamon-brown coat, and rests one arm on the table. Two glasses sit on the table in front of them. In the center of the painting, a woman wearing a long, black coat stands on the far side of the table, her head nearly reaching the top edge of the composition. Her body is angled slightly to our right and she gazes off in that direction. Beyond her is another table with two men partly obscured by the couple in front of us. One sitting at the table has flame-red hair topped with a round cap, and a portion of his aqua and peacock-blue striped jacket is visible. Near him, another person in a dark garment with a high collar stands with their back to us, most of the head cropped by the top edge. Along the left side, two women stand one behind the other with their backs to us. The woman closest to us looks away, wearing a short, parchment-white jacket over an aquamarine-blue skirt. The jacket is belted at the waist and the collar, upper back, and long cuffs are rust red. The woman beyond her turns her head to our right in profile, and wears a light blue jacket and pale green skirt. The features and clothing of each person in the scene is outlined in charcoal gray. The artist signed the painting in the upper right corner, “HTLautrec,” with the H, T, and L interlocking to make a monogram.
Henri de Toulouse-Lautrec, A Corner of the Moulin de la Galette, 1892, oil on cardboard, Chester Dale Collection, 1963.10.67

A Corner of the Moulin de la Galette

Henri de Toulouse-Lautrec · 1892 · oil on cardboard ·  Accession ID  1963.10.67

Henri de Toulouse-Lautrec, Lady with a Dog, 1891, oil on cardboard, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.22

Lady with a Dog

Henri de Toulouse-Lautrec · 1891 · oil on cardboard ·  Accession ID  1972.9.22

Henri de Toulouse-Lautrec, Sept pointes seches, published 1911, portfolio with seven drypoints, Rosenwald Collection, 1953.6.130-136

Sept pointes seches

Henri de Toulouse-Lautrec · published 1911 · portfolio with seven drypoints ·  Accession ID  1953.6.130-136

Henri de Toulouse-Lautrec, Mme. Le Marguoin, Milliner (Mme. Le Marguoin, modiste), 1900, lithograph in black on velin paper, Rosenwald Collection, 1952.8.454

Mme. Le Marguoin, Milliner (Mme. Le Marguoin, modiste)

Henri de Toulouse-Lautrec · 1900 · lithograph in black on velin paper ·  Accession ID  1952.8.454

Henri de Toulouse-Lautrec, The Jockey (Le jockey), 1899, color lithograph on China paper, Rosenwald Collection, 1952.8.449

The Jockey (Le jockey)

Henri de Toulouse-Lautrec · 1899 · color lithograph on China paper ·  Accession ID  1952.8.449