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Painted in 1892, this work belongs to the period when French artist Henri de Toulouse-Lautrec was closely observing life in Parisian maisons closes, not only their public spectacle but their ordinary, off-duty moments. Rather than turning women into fantasy, he gives them rest, closeness, and emotional presence. 

Two women lie close together in a narrow bed, their bodies mostly hidden beneath thick white sheets and a pale blanket that rises in soft folds around them. Only their heads, shoulders, and bare arms are visible. The woman at left has auburn hair and a fair, rosy complexion. She turns inward with a relaxed expression. Opposite her, the second woman, also light-skinned, nestles into the bedding with face on a pillow in profile. Their gazes meet quietly. Behind them, a warm striped wall in red, orange, and brown presses close to the picture plane, making the space feel intimate and enclosed. Lautrec uses quick, economical strokes and powdery color to flatten detail while preserving tenderness so that the white linens glow, the flushed skin feels alive, and the whole scene seems suspended between night and morning. Nothing here performs for an outside viewer. The mood is hushed, private, and strikingly gentle.

The picture’s power lies in its restraint. There are no dramatic gestures, no anecdotal props … just the quietness of mutual attention. Many viewers read the scene as one of female intimacy and possibly queer intimacy. The painting could equally be about companionship, fatigue, trust, and the fragile shelter one person can offer another.

Lautrec, an aristocrat who lived on the margins of physical and social norms, often painted performers, workers, and sex workers with unusual sympathy. Here he replaces voyeurism with tenderness. The bed becomes less a site of display than a small protected world, where affection survives the commerce and noise of modern Paris.

Painted in 1892, this work belongs to the period when French artist Henri de Toulouse-Lautrec was closely observing life in Parisian maisons closes, not only their public spectacle but their ordinary, off-duty moments. Rather than turning women into fantasy, he gives them rest, closeness, and emotional presence. Two women lie close together in a narrow bed, their bodies mostly hidden beneath thick white sheets and a pale blanket that rises in soft folds around them. Only their heads, shoulders, and bare arms are visible. The woman at left has auburn hair and a fair, rosy complexion. She turns inward with a relaxed expression. Opposite her, the second woman, also light-skinned, nestles into the bedding with face on a pillow in profile. Their gazes meet quietly. Behind them, a warm striped wall in red, orange, and brown presses close to the picture plane, making the space feel intimate and enclosed. Lautrec uses quick, economical strokes and powdery color to flatten detail while preserving tenderness so that the white linens glow, the flushed skin feels alive, and the whole scene seems suspended between night and morning. Nothing here performs for an outside viewer. The mood is hushed, private, and strikingly gentle. The picture’s power lies in its restraint. There are no dramatic gestures, no anecdotal props … just the quietness of mutual attention. Many viewers read the scene as one of female intimacy and possibly queer intimacy. The painting could equally be about companionship, fatigue, trust, and the fragile shelter one person can offer another. Lautrec, an aristocrat who lived on the margins of physical and social norms, often painted performers, workers, and sex workers with unusual sympathy. Here he replaces voyeurism with tenderness. The bed becomes less a site of display than a small protected world, where affection survives the commerce and noise of modern Paris.

“Au lit” (In Bed) by Henri de Toulouse-Lautrec (French) - Gouache on cardboard / 1892 - Kunsthaus Zürich (Zürich, Switzerland) #WomenInArt #HenrideToulouseLautrec #ToulouseLautrec #KunsthausZurich #EmilBuehrleCollection #arte #artText #FrenchArt #kunst #Lautrec #gouache #PostImpressionism #1890sArt

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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Corgis in the Gallery!
The original: Henri de Toulouse-Lautrec, "Aristide Bruant, in His Cabaret," 1893. (slightly corgified)

#CorgisInTheArtGallery #CorgiArtParody
#HenrideToulouseLautrec

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Painted from inside Montmartre nightlife, this scene is less “spectacle” than observation. The waltz becomes a small island of intimacy inside public performance. The National Gallery Prague’s identification connects one dancer to the entertainer Cha-U-Kao, with the famous performer Jane Avril behind, her back turned. Both are names that root the moment in French artist Henri de Toulouse-Lautrec’s circle and in the field of entertainment. 

Two women waltz close together in the foreground, their bodies angled into a tight turning rhythm: one leading with a firm shoulder and bent arm, the other following, their torsos nearly touching. In the warm, artificial light of the Moulin Rouge cabaret interior, their faces are pale and made-up, with sharp highlights and a slightly mask-like theatricality. Their outfits feel like performance wear including dark, structured fabric, a high collar and hat, and touches of brightness that flicker as the figures move. Behind them, the space compresses into overlapping silhouettes of a crowd, rail, and stage platform so depth gives way to atmosphere. A third figure (a singer) appears just behind the dancers, turned away from us, her head and shoulders caught mid-shift as if the music is pulling the whole room into motion.

Oil tempera worked on cardboard helps create a brisk, poster-like clarity with flat planes, fast contours, and a vivid sense of flicker and sound. Rather than moralizing about who belongs in places like the Moulin Rouge, Lautrec centers people often treated as background while letting gesture, closeness, and stamina tell a story.

“Cha-U-Kao” (stage name) was a Paris dancer, acrobat, and “clownesse” of the 1890s. She was depicted by Lautrec many times and was associated with venues including the Moulin Rouge and the Nouveau Cirque. The dance partner may have been “Gabrielle the Dancer” and her girlfriend. Jane Avril (Jeanne Louise Beaudon) was a celebrated Moulin Rouge dancer and one of Lautrec’s frequent subjects.

Painted from inside Montmartre nightlife, this scene is less “spectacle” than observation. The waltz becomes a small island of intimacy inside public performance. The National Gallery Prague’s identification connects one dancer to the entertainer Cha-U-Kao, with the famous performer Jane Avril behind, her back turned. Both are names that root the moment in French artist Henri de Toulouse-Lautrec’s circle and in the field of entertainment. Two women waltz close together in the foreground, their bodies angled into a tight turning rhythm: one leading with a firm shoulder and bent arm, the other following, their torsos nearly touching. In the warm, artificial light of the Moulin Rouge cabaret interior, their faces are pale and made-up, with sharp highlights and a slightly mask-like theatricality. Their outfits feel like performance wear including dark, structured fabric, a high collar and hat, and touches of brightness that flicker as the figures move. Behind them, the space compresses into overlapping silhouettes of a crowd, rail, and stage platform so depth gives way to atmosphere. A third figure (a singer) appears just behind the dancers, turned away from us, her head and shoulders caught mid-shift as if the music is pulling the whole room into motion. Oil tempera worked on cardboard helps create a brisk, poster-like clarity with flat planes, fast contours, and a vivid sense of flicker and sound. Rather than moralizing about who belongs in places like the Moulin Rouge, Lautrec centers people often treated as background while letting gesture, closeness, and stamina tell a story. “Cha-U-Kao” (stage name) was a Paris dancer, acrobat, and “clownesse” of the 1890s. She was depicted by Lautrec many times and was associated with venues including the Moulin Rouge and the Nouveau Cirque. The dance partner may have been “Gabrielle the Dancer” and her girlfriend. Jane Avril (Jeanne Louise Beaudon) was a celebrated Moulin Rouge dancer and one of Lautrec’s frequent subjects.

“Au Moulin Rouge : Les deux valseuses (At the Moulin Rouge: Two Women Waltzing)” by Henri de Toulouse-Lautrec (French) - Oil tempera on cardboard / 1892 - National Gallery Prague (Czechia) #WomenInArt #HenriDeToulouseLautrec #ToulouseLautrec #artText #arte #NationalGalleryPrague #NarodniGaleriePraha

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While you might be more familiar with Toulouse-Lautrec’s images of performers, this drawing from 1893 depicts French President Marie François Sadi Carnot as ill.

Henri de Toulouse-Lautrec. “Carnot malade (Carnot is Ill!),” 1893, lithograph. @spencer_museum

#henridetoulouselautrec
#toulouselautrec

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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#HenrideToulouseLautrec

The Spanish Dancer (1888)

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de Henri de Toulouse-Lautrec

#art
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#artcollectors
#discoverart
#erotica
#nudeart
#artnude
#henridetoulouselautrec

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HB Henri de Toulouse-Lautrec
#HenrideToulouseLautrec

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Pop Art Painter Jamie Roxx Blog 👉 One of the Greats! A Fave of Mine! Birthday Remembrances. Today, Nov 24, 1864 – #HenrideToulouseLautrec, French painter and illustrator (d. 1901) was...

Life of Henry Toulouse-Lautrec
& A collection of 283 works (4K)
(🎬 Click the Pic to Watch the Videos)

👉 One of the Greats! A Fave of Mine!

Birthday Remembrances. Today, Nov 24, 1864 – #HenrideToulouseLautrec, French painter and illustrator (d. 1901) was born.

tmblr.co/Z1qZLViU26Tn...

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that in Lautrec’s most famous images of her, he did not even need to show her from the front. These images reveal his debt to Japanese ukiyo-e woodcuts, in which subjects are often identified by gestures, hairstyles, or accessories rather than a traditional likeness. #HenrideToulouseLautrec

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I paint things as they are. I don't comment. I record.

🎨 Henri de Toulouse-Lautrec, French painter, printmaker, draughtsman, caricaturist & illustrator,
born on this day, 1864

#Painting #Art
#HenrideToulouseLautrec

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#WomanInTheWindow225
#FrauAmFenster
#FemmeALaFenêtre
#MujerEnLaVentana
#art
#HenriDeToulouseLautrec

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#WomanInTheWindow202
#FrauAmFenster
#FemmeALaFenêtre
#MujerEnLaVentana
#art
#HenriDeToulouseLautrec

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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Pop Art Painter Jamie Roxx Blog RIP today, Sept 9, 1901 – Henri de #ToulouseLautrec, French painter and illustrator (b. 1864) walked on. (https://en.wikipedia.org/wiki/Henri_de_Toulouse-Lautrec) #HenrideToulouseLautrec...

How Toulouse-Lautrec Captured the Dark Side of Parisian Glamour
& The top 50 TL Paintings in detail

👉 RIP today, Sept 9, 1901 – Henri de #ToulouseLautrec, French painter and illustrator (b. 1864) walked on.

#HenrideToulouseLautrec #PostImpressionism #ArtNouveau

tmblr.co/Z1qZLVi5ab2z...

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🎨 #HenriDeToulouseLautrec, French painter, printmaker, and illustrator, #DOTD 9 September 1901. #Art #Illustration #Painting

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'O sofá'
de Henri de Toulouse-Lautrec

#art
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#artcollectors
#henridetoulouselautrec

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#HenrideToulouseLautrec 💃

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#WomanInTheWindow112
#FrauAmFenster
#FemmeALaFenêtre
#MujerEnLaVentana
#art
#HenriDeToulouseLautrec

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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her face harshly lit and acid green. At some point, the artist or his dealer cut down the canvas to remove Milton, perhaps because her strange appearance made the work hard to sell. Whatever the reason, by 1914 the cut section had been reattached to the painting. #HenrideToulouseLautrec

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Henri de Toulouse-Lautrec #henridetoulouselautrec

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A loose, roughly illustrated digital painting of a man in a top hat chatting with a few dancer women.

A loose, roughly illustrated digital painting of a man in a top hat chatting with a few dancer women.

A loose, roughly illustrated digital painting of four ballerinas in blue tutus, posed in different ways to give the piece movement and harmony.

A loose, roughly illustrated digital painting of four ballerinas in blue tutus, posed in different ways to give the piece movement and harmony.

quick + rough color studies I recently did of toulouse-lautrec and degas pieces
#artstudy #arthistory #masterstudy #art #henridetoulouselautrec #edgardegas #postimpressionism ^_^
The Englishman at the Moulin Rouge (1892) and Blue Dancers (1897)

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Henri de Toulouse-Lautrec Quiz 1. What was Henri de Toulouse-Lautrec’s full name? a) Henri-Jean-Baptiste de Toulouse-Lautrec b) Henri-Marie-Raymonde de Toulouse-Lautrec-Monfa c) Henri-Jean-Marie de Toulouse-Lautrec-Beaufort d) Henri-Victor-Jacques de Toulouse-Lautrec 2. When was Henri de Toulouse-Lautrec born? a) 5 February 1874 b) 15 May 1872 c) 21 August 1869 d) 24 November 1864 3. Where was Henri de Toulouse-Lautrec born? a) Albi b) Toulon c) Valetta d) Naples

Henri de Toulouse-Lautrec Quiz Questions
Click here for answers


1. What was Henri de Toulouse-Lautrec’s full name? #HenrideToulouseLautrec
go4quiz.com/henri-de-tou...

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