Henri de Toulouse-Lautrec — Quadrille at the Moulin Rouge Print
1892
Illustrative frame preview.
National Gallery of Art, WashingtonOriginal work, c. 1892
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Henri de Toulouse-Lautrec — La Goulue and Her Sister Print
Two women stand among the crowd in a dim Parisian dance hall. Toulouse-Lautrec uses broad shapes and muted colour to catch the scene's passing energy.
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
Delivery to the contiguous US and Washington, DC.
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
Two women stand among the crowd in a dim Parisian dance hall. Toulouse-Lautrec uses broad shapes and muted colour to catch the scene's passing energy.
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 — La Goulue and Her Sister Print
- Date of work
- c. 1892
- Museum collection
- National Gallery of Art, Washington
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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