Anyone who’s ever yearned to visit Paris will feel right at home in The Phillips Collection’s latest special exhibition, showcasing the work of Henri de Toulouse-Lautrec (1864-1901) because his work is literally the stuff that populates dreams of the Cit’s of Lights. In a relatively brief life, Toulouse-Lautrec documented and defined French popular culture in a way that still affects us today. It’s impossible to visit any of DC’s universities without running into the famed “Chat Noire” on a freshman’s wall.
The galleries and living rooms of Northwest frequently boast the artist’s work; his posters, once quotidian, now fall under the “vinatage” genre, a point of pride to collectors. Beginning to understand this artist, reflecting on his work has been an eye
-opening experience for me in several levels.
Each of Toulouse-Lautrec’s prints captures some facet of belle-epoque Paris. Author Charles Hiatt put it this way,
“For his posters are at once realistic and grotesque; they are delineations of life as seen by a man who, possessing the most acute powers of observation, is poignantly impressed by the incongruities of modern life.”
Personally impressed, Toulouse-Lautrec then pressed his perceptions indelibly into the modern medium of printing: preserving and diffusing far-and-wide a vibrant record of his age. In this, modern as he may have been, Toulouse-Lautrec was a man of tradition: he handed on what he had received. And not only from his own era. From time to time, he would borrow or carry over motifs from earlier prints (17-18th centuries), updating them for his day. This understanding of tradition, so critical to the Christian faith may be what’s so endearing to me about Toulouse-Lautrec’s work.
What a wonder, to have all the world agree that in a few brush-strokes on paper you have captured the multifaceted living breathing reality of an entire society! And what a society!
Here we move beyond Degas’ dancers or Parisian women ironing. Toulouse-Lautrec descends from the wrought iron balconies of the Champs Elysees into the dirt and grit of Paris’ late nineteenth century demi-monde. Here we meet celebrated poets, clowns, dancers, and even prostitutes of the day.
They drew artists and tourists alike to the city Haussmann built… so strong was the attraction that even the Franco-Prussian war could not long slow Paris’ growth nor dim its glow.
This praise must be matched, however, with a certain mourning. If Toulouse-Lautrec’s capacity to preserve and hand on the Paris of his day is a joy to behold, the content of that day is certainly a cause for weeping. …and that’s no prudish judgment on my part. Look carefully at each of the exhibit’s posters. Do you see any happy people?
Is anyone thrilled or even positive about the glories of the belle epoch? The artist indeed captures incongruity: a society famed for joy and celebration seems absolutely dour… a people famed for their dedication to freedom seem trapped in sadness. They hold up a fetid bourgeois feast as the god of their idolatry, but what is there to praise. Elsewhere in the Phillips Collection you’ll always be able to find Renoir’s “Boating Party,” another iconic snapshot of belle epoch France. I’ll never forget my freshman art appreciation professor’s essay question “Are the characters happy?”
Often, Toulouse-Lautrec’s figures practically drip. In some cases their features almost resemble wax melting off a candle… a sign of the excess of the age. In other works, the artist’s reductionist approach yields lumpy broad-angled bodies.
No time, no care has been taken to move the figures beyond sketch-status. Is this a commentary on the regard in which people held each other? It would certainly fit wider themes of the Industrial Age from which atheist Marxism rose, reducing all people to angled cogs in the great machine. It’s telling that one of his last works was a print of model/actress Jane Avril, a representative woman of her time coiled in a serpent’s embrace. “And his heart was moved with pity for them.” (Mt 9:36)
Reflecting on tis exhibition, questions naturally arise: how does this relate to life today? Are we, the great-grandchildren of the belle epoch, different? Better? Worse? I’m not sure… and there’s really no time for me to dive into it here and now, but the estimable work of this artist certainly lends credibility and merit to the questions… questions to be carefully examined with eyes of faith.