At the Moulin Rouge
1892–95
Illustrative frame preview.
Cleveland Museum of ArtOriginal work, 1894
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Henri de Toulouse-Lautrec — Aux Ambassadeurs Print
A performer in a warm orange dress appears beneath dark trees and pale lights. Toulouse-Lautrec reduces the scene to broad shapes and flat colour in this complete lithographic print, including its supplied lower paper margin.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
£29.00
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
A performer in a warm orange dress appears beneath dark trees and pale lights. Toulouse-Lautrec reduces the scene to broad shapes and flat colour in this complete lithographic print, including its supplied lower paper margin.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Henri de Toulouse-Lautrec
- Artwork
- Henri de Toulouse-Lautrec — Aux Ambassadeurs Print
- Date of work
- 1894
- Museum collection
- Cleveland Museum of Art
About Henri de Toulouse-Lautrec
French · 1864–1901
Henri de Toulouse-Lautrec was born in Albi in 1864 and moved to Paris in 1882. He studied with Léon Bonnat and Fernand Cormon, entering a city in which independent painting and new forms of entertainment were changing public life. Drawing had interested him from childhood, and it remained central to the character of his mature work.
The dance halls and café-concerts of Montmartre became important subjects. Toulouse-Lautrec painted performers and the people around them, while his advertising lithographs brought stars such as Yvette Guilbert before a wider public. Painting and commercial printmaking belonged to the same curiosity: both could describe the distinctive gestures, clothes and personalities of contemporary Paris with unusual immediacy.
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