Maxime Dethomas - Knowledge (XXG)

3010: 2994: 1597: 1333: 1377: 3042: 2978: 1289: 1479: 3026: 1932: 686: 1174: 1311: 857: 1008: 2962: 2946: 2930: 284: 575: 1355: 952: 1044: 876: 1669: 912: 1398: 1127: 1028: 373: 821: 706: 968: 892: 650: 1060: 1420: 670: 1442: 729: 525:", Dethomas nonetheless exhibited sparingly during the 1890s. Contemporary accounts suggest a "supercilious modesty prevented him from over-exhibiting his work though no artists merchant forbade him". In a letter written by Lautrec in the summer of 1895 to Joseph Ricci, Lautrec refers to Dethomas as his dear friend and compliments him as a painter "who doesn’t talk about his paintings, something that is to be admired". Despite his early reluctance to exhibit, he participated in some of the most significant exhibitions of the 1890s. His first solo exhibition in 1900 marked a turning point in his willingness to accept notoriety, leading to considerable accolades and public recognition. 2504:

par la cruauté de l'observation, par une ironie profonde et naturelle, Dethomas s'apparente à Daumier. Il est comme Daumier, un moraliste, et sa verve, même caricaturale, devient aisément lyrique. Nous recommandons au visiteur Le Colporteur et le Socialiste, le Passage de l'Express, La Mauvaise Amie et enfin un Adieu où la mélancolie de deux visages rapprochés atteint à la plus haute poésie. Bien au-dessus de ses émules, qui ne cherchent dans l'actualité qu'un amusement ou un prétexte à cocasserie, Maxime Dethomas typifie la vie quotidienne et les rencontres du salon, du cercle, du bar, de la rue. Il est dès aujourd'hui un des premiers représentants de l'art français contemporain.

594: 988: 1531: 396: 753: 555: 2224: 1872: 1573: 777: 292: 235: 1811: 614: 801: 841: 1091: 932: 1107: 1075: 630: 1894: 1715: 1511:), for his imposing height and dead-pan face; Thadée Natanson described him as a gentle giant, polished and discreet – "He was so frightened of wearing anything that might draw attention to himself that even the black of his clothes seemed duller than that worn by others." Dethomas' placidity, corpulence and extreme shyness – he always blushed when he had to raise his voice – endeared him to Toulouse-Lautrec. Paul Leclercq claimed that Lautrec was fascinated by Dethomas' "ability to preserve an impassive appearance even in a place of amusement". 381: 2183:

deux, vues de dos, avec une Venise froide et bleue dans le fond, qui sont d'une pâte vraiment régalante (no. 47); et une autre, assise de face, avec un corsage arrondi, fait de vermicelles rouges, et des yeux qui ont l'air d'avoir longtemps contemplé une prairie (n" 17). Notez que ces jeunes personnes sont enveloppées d'air respirable, ce qui est, en peinture, plus rare qu'on ne l'imagine, et qu'elles ont pour la plupart je ne sais quelle allure espagnole qui est une des meilleures choses qu'on ait rapportées depuis longtemps de Venise.

1454: 365: 1777:"I understand and feel with you the distress caused by Lautrec's death. We always love people more than we think, and when one has sensibilities such as yours, nobody we have touched so lightly and so often can vanish without tearing something from one's heart. I always had the very clear impression that he loved you as best he could love. In those words that he had said of you, one could see his "regard" for the quality of your mind and, no doubt, your sweetness of soul and desire to never show him pity." 1692:' Weber commissioned two large canvases to adorn her travelling show's tent. Dethomas appears on the left-hand panel, looking down toward La Goulue. At around the same period, Toulouse-Lautrec declared "I will capture your immobility in places of pleasure", and over the course of one and a half years, he made numerous preparatory sketches of Dethomas intended for a single painting, each taking anywhere from five to fifteen minutes to create. Completed in 1896, the famous portrait of 1979: 1639: 31: 1665:. The trip had been the suggestion of Maxime in a vain attempt at moderating Henri's increasing reliance on alcohol. Accounts differ, but the trip appears to have ended early at Toulouse-Lautrec's behest. Before long, he went into a furious rage and refused to go ashore; children were running behind the barge on the bank of the canal, taking them to be a performing giant-dwarf duo that would perform circus tricks for their delight. 488:. Having cut ties with his bourgeois pretensions during an 1891 move to Montmartre, Dethomas followed in the footsteps of his mentors, hungry to find authentic expression of the human condition amongst the daily struggles of the urban poor. "His characters are all scoundrels", joked Degas. Two such 'scoundrels' would go on to lead remarkable lives, in no small part due to their association with Dethomas. Then artist's model 219: 2903:(1906) represents Dethomas' first major exercise in book illustration. Whilst he had been visiting Venice each winter for several years, and accumulating a considerable portfolio of work in the process, the collaboration with Regnier for this project uniquely combined previously completed stand-alone coloured artworks, and a suite of black and white sketches in charcoal and 2209:

les acteurs d'une même scène; montre-t-il un personnage isolé, il le campe dans une attitude signalétique et lui donne des allures qui atteignent au style. Ses paysages urbains sont pleins de caractère. On lui saura gré, par surcroît, d'avoir marqué les contrastes voulus entre les aspects et la vie de Paris et d'Italie avec le tact d'un observateur réfléchi et sensible.

4134: 1970:. In a March, 1903 letter to Dethomas, Proust wrote that after having seen his exhibition, he received "a profound initiation to the understanding of nature and love of life." He continued, "it seems that one has gotten from you new eyes to look at life and men and even down to those little windows on the Grand Canal that I would love to juxtapose with yours." 1587:. Chosen from among his friends more for the comedic effect than for his bartending skill, Dethomas assisted Toulouse-Lautrec serving drinks, replete with absurd costumes and flourishes of theatrical drama. Together they served over two thousand cocktails to three hundred guests. The event was long remembered as one of the most debaucherous evenings of the 1802:, was published posthumously; Tinan's final act was to dedicate the unfinished novel to Dethomas, as a “testimony of his deep affection.” As had Lautrec at the beginning of the year, Dethomas contributed lithographs to the publication which adorn the cover – his first such foray into the world of literature and a fitting tribute to his dear friend. 274:. It is an often repeated, yet erroneous claim that Dethomas' relationship with Toulouse-Lautrec was one of master and student – at least in the formal sense of the term – though their shared experiences and mutual respect for each other as artists was of undeniable consequence. In an 1898 letter, Dethomas reflected on Toulouse-Lautrec's art: 1278:. In his colour schemes Dethomas used visual analogy paired with the play-writer's thematic intent, "the progression of each scene following perfectly the progression of the drama". Dethomas once wrote that above all else decor should be a good servant of the play and that a designer must get beyond a "painterly feel" to something more solid. 1730:

Henri's troubles with a pair of naked mouthwash-drinking models – the lunch finally ending with Henri red-faced and shouting at his mother, declaring he could not stand life anymore, and that he will leave for Japan. Eight days later, Dethomas writes again of yet another event that fell victim to Henri's drunkenness, this time a dinner at

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canvas with a steady hand, then he would get up, go and lie on the couch and fall asleep for at least an hour. During this time I was free to play with the cats, to read and eat the candies lying around in various dishes, even to sleep myself, in fact to wait for him to wake up in whatever way I felt like. And this happened frequently.

1170:(1910), marked a major theatrical revolution by which Dethomas' settings accentuated line and colour, rather than a focus on painted detail and endless props. Against blue, ochre, grey and steel, black costumed characters created striking pictorial compositions in lighting effects that "varied like inflections in a conversation". 3009: 135:; October 13, 1867 – January 21, 1929) was a French painter, draughtsman, printmaker, illustrator, and was among the best known theater-set and costume designers of his era. As an artist, Dethomas was highly regarded by his contemporaries and exhibited widely, both within France and abroad. He was a regular contributor to the 2993: 2182:

Rue Caumartin, l'exposition Maxime Dethomas (une quarantaine tout au plus de cadres), au contraire de tant de déballages picturaux, laisserait désirer un supplément de spectacle. Une série de femmes à mi-corps, décrites d'un fusain gras que réchauffe parfois un peu de pastel ou d'aquarelle. Il y en a

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Disappointed, he returned to Andalusia, where he intended to renew his inspiration and craft a new artistic vision – one which would appease the fickle tastes of the Paris art community. By rare chance, Zuloaga and Dethomas ran into each other in Seville, a meeting that proved fortuitous for Zuloaga.

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Poor Lautrec is dead, it seems he didn't stop talking about me despite his agony. How curious! I did not think I held such great position in the mind and heart of this poor being. He kept his wits to the end and declared that dying is no small thing, that it was mightily hard. It also appears that in

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in 1867, Maxime Dethomas was the eldest of six children, including four half-siblings. His family came from a long line of painter-printers on one side, and lawyers on the other. His father, Jean-Albert Dethomas (1842–1891), was an important Parisian politician and lawyer. His mother, Laure-Elizabeth

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Henri's increasingly erratic behaviour was beginning to take its toll on both his family and friends. In a letter from December 8, 1898, Dethomas' discusses a lunch invitation he attended at Toulouse-Lautrec's home, at which Henri's mother was also present. Drama unfolded when conversation turned to

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Le talent sobre et vigoureux de ce grand artiste qu'est Maxime Dethomas se manifeste ici en une centaine de pièces de tout premier ordre, quelques-unes destinées à l'illustration d'ouvrages connus, d'autres libres, spontanées et d'un mouvement incomparable. Par la puissance et la netteté du trait,

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Son talent s'est formé à l'école'de Carrière et dans le commerce de Toulouse-Lautrec, d'Anquetin et de Zuloaga. La rencontre et la fusion d'enseignemerts aussi dissemblables devaient avoir pour résultante un art libre et à son tour personnel. M. Dethomas saisit et note avec succès le lien qui unit

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During the final years of Toulouse-Lautrec's descent into full-blown alcoholism, Dethomas would rarely leave his side, often escorting him to his Montmartre home at the end of long drinking sessions. The two would spend many hours working and talking together at Henri's last Paris studio on avenue

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Whilst much has been made of the comical dynamic of their friendship, Toulouse-Lautrec also derived an element of utility from his companion. Calm and seemingly distant, Dethomas generally walked through life a discreet and unassuming character. However, when he accompanied Toulouse-Lautrec, their

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During 1885, Dethomas first met Augustine Bulteau (1860–1922), matriarch of the Parisian arts community and one-time wife of prominent author and playwright, Jules Ricard (1848–1903). Bulteau would go on to become a pivotal figure in his life, helping him navigate a difficult relationship with his

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The difficulties thus managed by the goodwill of Maxime, Ignacio returned to Paris in 1894. Presented to Mrs. Marie-Louise Dethomas, mother of Maxime's half-sisters Valentine, Germaine and Alice, Zuloaga was asked to make a portrait of the eldest. This portrait of Valentine would perhaps mark the

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Dethomas' joy at finding his old Montmartre companion under such circumstances soon turned to sadness as Zuloaga explained his dire financial straits and his desperation to return to Paris to revive his artistic career. The seemingly intractable problems of a well-discouraged Ignacio were at once

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In the first days of 1891, Dethomas moved to an apartment at 8, Cité Pigalle, Montmartre – selected no-less for its proximity to the workshop of Eugène Carrière, than to that of his friends Toulouse-Lautrec and the photographer Paul Sescau. They lived but streets apart, often visiting the cafes,

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As soon as he woke we would work without a break until five o'clock. People would knock on his door, ring the bell, call to him, he would not move, he never answered. I often met Suzanne Desprès, who had been his model for a long time, there. It was at the outset of her acting career and she was

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I used to arrive after lunch around two o'clock and would take up a pose, and he would begin to work. He had a litter of pretty little Siamese cats that would climb all over me or play with my bare feet in a way that was often quite fierce. Dethomas sketched, putting down a line on the paper or

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The things I see by him always give me an intense desire to work. The things of this boy, who, if he has no talent, certainly has a little genius, are always for me a whiplash . It's as if I was shown the way with a sudden invitation to advance. The master paintings do not give me that, we are

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Before the end of 1894, as he did for all his interesting friends, Maxime presented Zuloaga at the salon of Madame Augustine Bulteau. Her considerable reach within the arts community would smooth his path to recognition and ultimately lead to several commissions from her network of expatriate

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held the same month describe Henri's health having deteriorated to such an extent that he asked Maxime to push him around the various exhibits in a wheel chair – a request to which he dutifully obliged. The following month, on the suggestion of friends, Toulouse-Lautrec departed Paris for the

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Things began well, but before dessert had been served, Henri had passed out beneath the dining table, awaking at midnight with loud complaints about how low the ceiling was. "The poor boy is really in a pitiful state of health" Dethomas continued, "senility is approaching, death perhaps."

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is to be believed, during the month of October, 1894, Dethomas and Toulouse-Lautrec travelled to Spain together, stopping at Madrid, Cordoue and Seville. In subsequent years their travels continued, visiting exhibitions, museums and mutual friends or exploring towns such as

1523:, bear witness to this: "Lautrec loved Maxime Dethomas very much. This tall and strong fellow towered over him. With him, he felt under real protection. When together in the street, Lautrec never heard any ridicule. Dethomas, impassive and cold, always muzzled the crowd." 1790:. The charismatic twenty-one year old was a new arrival in Paris, and was soon a daily participant in the circuit of bars, cafes and theatres that Dethomas and Lautrec would frequent. Tinan quickly become their "young cadet", Lautrec illustrating the cover of his novel 1310: 856: 1797:

It was to her Venice estate that Tinan retreated during the final harrowing moths of his short life. A failing heart did not keep him from his work, though his final “sentimental little story” remained unfinished at the time of his death on November 18, 1898.

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as witnesses. From a friendship born under the auspices of painting; re-invigorated by chance; and nourished by unbridled generosity; the family ties were thus consolidated between the two artists. For the next three decades the pair would stay firm friends.

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set a standard by which Dethomas' subsequent illustration projects would follow. Employing the skills of engravers such as Léon Pichon and Emile Gasperini, his black and white drawings found their way into sitting rooms and libraries around the world.

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He was tall and stout, with a pallid complexion, the type of slightly fleshy giant who spent his nights making sketches in night clubs. He had great difficulty staying awake after meals, which for him always had to be enormous.

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in 1896. During August and September, 1898, Dethomas acted as a marriage broker of sorts, attempting to bring together his half-sister Germaine and Louys, a plot that was thwarted by Maxime's stepmother, Marie-Louise Thierrée.

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During his seventeen years in the theatre, Dethomas was artistic designer for over fifty plays, ballets and operas, featuring many of the era's most notable actors, dancers, singers, playwrights and composers, including

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reminiscent of Lautrec lithographs. From the late 1890s, he drew inspiration from Japanese prints – said to have been introduced to him by Toulouse-Lautrec – and developed a bold xylographic style which lent itself to

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realizing the size of his nose in relation to his shrunken face, he said, pointing to it: "When I am dead it will look like a crouton planted in a dish of spinach!" You see, he stayed himself until the very end!

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Dethomas engaged models from both within his social circle, as well as otherwise unremarkable characters from urban life, searching out peculiarities of appearance that betrayed the social facades of the

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Dethomas made an important contribution to the renaissance of book production in France. The following list gives a broad representation of Dethomas' artistic contributions to published literary works:

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in 1914, Rouché and Dethomas went on to offer fresh interpretation of old material and to make inroads into stale scenic convention. By 1917, Dethomas was also designing sets and costumes for the

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recalled that Toulouse-Lautrec playfully attributed his companion super-human strength and would loudly declare with mock seriousness that Dethomas "could have anyone's hide at his leisure!".

669: 180: 319:. Through Dethomas, Zuloaga gained entrée into French artistic circles; reciprocally, Zuloaga introduced Dethomas to other Spanish expatriate artists, including the so-called Catalan Band: 315:– Dethomas applied and was accepted, continuing his formal education under Gervex. During this period, Dethomas became firm friends with fellow Gervex student and future brother-in-law, 2146:"J'y retins avant tout le monde Dethomas, dont les esquisses sombres sont d'une coloration interessante, d'un gout sur, d'une elegance nerveuse qui fait augurer de serieux resultats." 544:(1850–1894), and his successor, Louis Vivien. Cluzel is the framer patronized by Edgar Degas, who was very concerned about presentation of his work. In 1912, Dethomas was awarded the 492:

became romantically involved with Dethomas in June, 1894, and continued to feature prominently in his art for some years, later becoming a famous actress and wife of theater director

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for the thirteenth Impressionists and Symbolists exhibition at the Barc de Bouttville, opening December 26, 1896. The original artwork is held at the Musée des Beaux-Arts, Bordeaux.

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Like many of his contemporaries, Dethomas explored various artistic mediums, including book illustrations, posters and print making. By 1895, he was designing programmes for

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He realised vigorous drawings, and some few oil paintings, showing portraits, cafe scenes, and urban landscapes of Italy and Spain. He primarily worked with broad strokes in

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represented a major shift away from facile acting, shallow content and the painted-canvas drawing rooms of commercial theater that were the norm. The inaugural production,

283: 1668: 1627:, at which Dethomas had made use of a summerhouse. During the summer of 1895, they journeyed to the coast of Normandy together. From photographs taken by Dethomas at 1126: 356:. Carrière's tutelage played a significant role in the early development of Dethomas' art, and he would go on to be a close friend of both the artist and his family. 1765:

So the party continues! Giraudat, Tinan, him and the others. It really seems as though I'm witnessing a battle and I'm on a flank where the lead hits hard and true.

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Bulteau's reply of September 16 summed up very well the tone of the relationship between the two friends and the reason for the little man's deep attachment to his

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contrasting heights invariably attracted attention, the bowler hat of the little man barely reaching Maxime's elbow. Yet the jeers stopped at the quiet strength of

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country. In April 1901, upon hearing news of a stroke, Dethomas traveled to Bordeaux to see his friend. At the end of his stay, Henri recounted that he had taken

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Bibliothèque nationale (France). Département des estampes et de la photographie. Inventaire du fonds français après 1800. Tome sixième, Daumont-Dorange. 1953.

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also features Dethomas, leering provocatively at the famous stage performer. Toulouse-Lautrec gifted an annotated proof copy of this lithograph to Dethomas.

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father, guiding his academic direction and encouraging his development as an artist. Each year, Dethomas would take extended breaks at Bulteau's estates in

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1916 - Exhibited at the Detroit Museum of Art, U.S.A. The exhibition of PPIE works. (October Exhibition Catalogue) Lot. 80 - "Yvonne", Lot. 81 - "Jeanne"

2166:"Maxime Dethomas a composé une affiche originale pour cette quatorzième exposition, ainsi que des études d'intérieur avec do délicats profils de femmes." 1886:

alleviated with a generous offer: "My workshop will be yours as much as it takes. Come to Paris. It's at 9 rue Duperré. Models, I'll find you. Home."

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Since his return to Spain, he had battled disappointment and poverty, but knew that if he could return again to Paris, he would surely find success.

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1915 - Exhibited two framed drawings in the French Pavilion of the Panama-Pacific International Exposition (PPIE) Worlds Fair, San Francisco, U.S.A.

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explicitly intended for use 'in-text'. In conjunction with the release of the book, Dethomas held an exhibition of the book's artworks at the

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to the train station for his return to Paris, and given him a going-away present of two chameleons "who rolled their eyes terribly. We drank

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Antoinette Béchet, died at the age of 27 in 1874. His step mother, Marie Louise Thierrée, belonged to the affluent middle-class of Bordeaux.

2034:, Maufra and others. Review makes particular mention of "a delightful pastel, Etude de femme, by M. Dethomas", and "the Woman with the Cup ( 1871: 1572: 291: 2223: 720: 472:. With his drawings engraved by Léon Pichon and Emile Gasperini, he illustrated close to thirty books by many prominent authors including 4212: 565: 4407: 446:, graphite, charcoal and pastel, often enhanced by watercolour and the masterful use of the spatter brush, with drizzles and sprays of 234: 4437: 585: 395: 1810: 1726:

Frochot, sometimes sharing the same models, at all times Dethomas attempting to steer conversation away from the topic of alcohol.

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Salon d'Automne 6ème Exposition Annuelle poster (1908) - Designed by Maxime Dethomas; printed by Eugène Verneau (120cm x 160cm)

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with the Natansons during one such trip, he later modelled two portraits of Toulouse-Lautrec, both of which are held at the

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would also model for Dethomas with some regularity, her memoirs painting a vivid picture of her time in Dethomas' studio:

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The final phase of Dethomas' formal education commenced from 1891 onwards, where he followed a more varied course at the

2575:(Feb.9 - 21) with Baignères, Desvallières, Dufrénoy, Fleming, Guerin, Marque, Mrs Marval, Rouault, Bernouard and Moreau. 1610:

Dethomas and Toulouse-Lautrec's adventures together were not limited to the streets of Paris. If Dethomas' close friend

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declared that Dethomas' influence on French Theatre had "transformed the art of scenery, costume design and staging."

1137:, created by Maxime Dethomas. Premiered November 25th, 1910. Dethomas was also responsible for set and costume design. 1583:

On the 16th February, 1895, an infamous soiree was held by the Natansons to celebrate the unveiling of new murals by

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It's unclear if Toulouse-Lautrec attended Dethomas' first solo exhibition during April 1900, though accounts of the

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When Dethomas learned of his friend's death, he wrote to his mentor Madame Bulteau, Friday, September 13, 1901:

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praised Dethomas as a "shrewd and penetrating observer" that captured his subjects "with a powerful sobriety".

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During the latter part of his career, he is remembered for his work overseeing set and costume design for the

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Framing Degas: The French painter Edgar Degas was Impressionism’s most energetic and inventive frame designer

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During the mid-1890s, Lautrec featured Dethomas in his art with some frequency. On April 6, 1895, the former

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Henri de Toulouse-Lautrec (left) and Maxime Dethomas (centre) with unknown model in Lautrec's studio (c.1890)

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Berthelot, 1902; Cooper, p.130; Gauzi, p.27; Southbank, p.538; Hecht, p.5; Gold, p.53; Perruchot, p.235, 236

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together at the station, and he's off like Saint-John the Baptist, the Forerunner, to announce my arrival."

1218: 175: 2557:(Feb.17 - Mar.1) with Baignères, Desvallières, Dufrénoy, Fleming, Guerin, Marque, Marval, Rouault and Mare. 2093:, with Anquetin, Leheutre, d'Espagant, Loiseau, Maillol, Regnier and others. (Reviewed September 19, 1895.) 4360: 2334:(Apr.23 - May.17) Sketches and charcoals of Venice and its people later used to illustrate Regnier's book 2152: 2132: 2115: 2085: 2072: 2051: 2022: 1993: 1848: 1565: 1201: 942: 831: 137: 1653:

From June 20 to July 5, 1897, Dethomas and Toulouse-Lautrec sailed Holland's canals on a barge, visiting

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at the Grand Palais des Champs-Élysées, Paris (Oct.15 - Nov.15). Seven drawings (lot 1420–1426) titled:

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at the Grand Palais des Champs-Élysées, Paris (Oct.31 - Dec.6). Three aquarelles (lot 655–657) titled:

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Degas, an avid supporter of Dethomas, spoke highly of his work asserting "it has weight". Described by

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On May 18, 1899, in Saint-Philippe-du-Roule, Ignacio Zuloaga, to whom success has just smiled at the

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and Galerie Druet. Consequently, many of his works were acquired by influential collectors including

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stupefied with admiration. We are blocked, discouraged, after them we are let down, we are in prison.

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In 1895 Dethomas formed what would become a brief but significant friendship with the young writer,

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and exhibition and advertising posters with print makers such as Edward Ancourt, Eugène Verneau and

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Dethomas' art passed through the hands of many prominent art dealers including Jos Hessel, Galerie

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Arriving in Paris at the end of 1889 after a disappointing stay in Rome, the young Basque painter

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at which he studied briefly, preferring instead to pass much of his time at the bookshop of the

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with Baignieres, Desvallieres, Flandrin, Geurin, Marquet, Marval, Piot and Rouault (Feb.5 – 17)

2613:, Paris. Retrospective including paintings, drawings, posters, illustrations, decorations etc. 1658: 1611: 1142: 1943:

was also a close companion of Dethomas and had collaborated with him on the first edition of

1721:(1896) - H.T. Lautrec. Lautrec gifted an annotated proof copy of this lithograph to Dethomas. 4285: 4270: 4176:

Fonds Dethomas (Maxime), Bibliothèque nationale de France. Département des arts du spectacle

4175: 2655: 2060: 2010: 1919: 1906: 1879: 1589: 1242: 497: 485: 436: 412: 203: 171: 105: 1814:

Ignacio Zuloaga and his wife Valentine Dethomas (c. 1900). The couple married May 18, 1899.

4155: 3951: 3086: 2884: 2797: 2777: 2709: 2386:

1907 - Exhibited at the 5th International Exposition of Barcelona, with Zualoga and Rodin.

1819: 1520: 1271: 1259: 1247: 537: 316: 303:, Dethomas began taking informal instruction at the private workshop of the young master, 189: 131: 3440:

Gold, p.53; Milhou 1991, p.52 puts his height at 6'1" – it's likely somewhere in between.

3091: 1731: 1187:(1911). In addition to this poster, Dethomas also created sets, costumes and a programme. 4250: 4235: 3854: 2837: 2817: 2750: 2699: 2682: 1493: 1267: 1213: 1196: 604: 477: 473: 424: 388: 328: 267: 218: 207: 4391: 4240: 2807: 2767: 2645: 2006: 1957: 1787: 2599:, Louvre, Paris (Apr.12 - May. 7) with Emile Decoeur, Albert Marque and Paul Follot. 1503:

Always drawn to physical eccentricity, Toulouse-Lautrec nicknamed the 6'6" Dethomas

4255: 2904: 2726: 1983: 1940: 1823: 1684: 1551: 1544: 1162:, Dethomas embarked on a career that would last for the remainder of his life. The 469: 345: 304: 206:

artists and writers. Dethomas died in 1929 at the age of 61, and was buried at the

4371: 2623:

2016 - Exhibited at the Museo de Bellas Artes de Granada, Spain (Jun.30 - Sept.18)

493: 459: 4295: 4275: 4221: 1827: 529: 324: 163: 3031:

Maxime Dethomas: original in-text Illustration p. 46, Henri de Régnier's

3015:

Maxime Dethomas: original in-text Illustration p. 40, Henri de Régnier's

2999:

Maxime Dethomas: original in-text Illustration p. 31, Henri de Régnier's

2787: 1628: 1576: 1540: 1492:, a favorite haunt of young artists and writers, in which he first befriended 1236: 376:

Henri de Toulouse-Lautrec and Misia Natanson in Maxime Dethomas' studio c.1895

341: 1700:

Another portrait of his friend took the form of a risque lithograph entitled

1966:

and discussed the quality of his work after attending an exhibition held at

1706: 1689: 1662: 194: 4107:

Du Moulin Rouge à l'Opéra : vie et œuvre de Maxime Dethomas, 1867-1929

4019:

Du Moulin Rouge à l'Opéra : vie et œuvre de Maxime Dethomas, 1867-1929

368:

A self portrait captured by Maxime Dethomas in his Montmartre studio c.1895

4133: 3315: 1905:

Spanish-speaking habitués, most notably, the 1913 portrait of the writer

540:. Dethomas is also known to have had his works framed by the frame-maker 443: 416: 287:

Maxime Dethomas (right) with Agustine Bulteau at Léry, Côte-d'Or (c.1890)

166:. His works appear in many important national collections, including the 2510:

1911 - Exhibited at the International Exhibition of Turin (Apr. – Nov.).

2915: 2080:(commenced April 27). With Maurice Denis, d'Espagnet, Robbe and others. 2002: 1654: 1534:

Maxime Dethomas, Thadée Natanson and H.T. Lautrec, Saint-Malo (1895-96)

452: 447: 184:. Dethomas is also remembered for his close friendship with the artist 2532:, Fleming, Guerin, Marque, Marval, Piot, Rouault, Jaulmes and Lacoste. 2421:, Paris (Oct.1 - Oct.27) Six drawings (lot 458 – 463) entitled : 1960:. Proust made a glowing mention of Dethomas' landscapes of Venice in 1624: 1563:. By 1894, Toulouse-Lautrec and Dethomas were exhibiting together at 420: 178:. A large collection of his theatrically related work is held at the 1956:

Dethomas had a number of prominent writer-friends, one of which was

2123:(commenced January 27) with Roussel, Piet and others. Lot entitled 1486:

During 1887 Dethomas began frequenting the library-bookshop of the

3320: 2222: 1977: 1930: 1892: 1870: 1809: 1713: 1667: 1637: 1595: 1571: 1529: 1477: 1275: 1172: 1125: 432: 408: 394: 379: 371: 363: 290: 282: 233: 217: 73: 4181:

Réunion des musées nationaux, Grand Palais, Agence Photographique

1645:

by H.T. Lautrec (1895). Maxime Dethomas looks on from the right.

2106:. An exhibition review of January 4 makes particular mention of 295:

Maxime Dethomas and unknown model at the Bulteau Estate (c.1900)

4194: 3977:

Toulouse-Lautrec: Paintings, Drawings, Posters, and Lithographs

2351:, Paris (Oct.6 - Nov.15). Eight drawings (lot 464–471) titled: 2255:, United States (Apr.30 to Dec.1). A drawing (Lot 595) titled: 1935:

Marie-Louise Thierrée, step-mother of Maxime Dethomas (c. 1898)

1822:

first met Maxime Dethomas as a fellow student at the studio of

4073:

Taylor, E.A. The Studio - Vol 84, No 353, August 1922, London.

2517:, Bruxelles (Mar.18 - Apr.23) with Vuillard, Denis and others. 2193:, 29 rue Taitbout (Nov.11) with Anquetin, Flandrin and others. 2063:

and others. Dethomas received a notable mention. (Reviewed in

1909:, which would stand as one of Zuloaga's most important works. 247:

and Venice – trips that would feature prominently in his art.

3047:

Maxime Dethomas: original illustration for Eugène Montfort's

2546:

in The Hague, Netherlands (Mar. - Apr.) with Bussy and Huszar

2219:

in Brussels (Feb.26 - Mar.29) with Denis, Rusinol and others.

238:

Maxime Dethomas (centre) with his artist companions (c. 1890)

2983:

Maxime Dethomas: unused illustration for Henri de Régnier's

2102: : with Vuillard, Lautrec, Rodin and others. Lot 75 — 93:

Painting, printmaking, drawing, illustration, theatre design

2967:

Maxime Dethomas: original planche No.5, Henri de Régnier's

2951:

Maxime Dethomas: original planche No.4, Henri de Régnier's

2935:

Maxime Dethomas: original planche No.1, Henri de Régnier's

1600:

Henri de Toulouse-Lautrec by Maxime Dethomas 1898. Held at

4186:

Maxime Dethomas, Gallica, Bibliothèque nationale de France

1262:

and Dethomas collaborated to create sets and marionettes.

3876:

Vistas de España: American Views of Art and Life in Spain

2914:

Dethomas' bold xylographic style lent itself well to the

2602:

1928 - Exhibited (solo) drawings and watercolours at the

2200:, "sketches of Paris and Italy". Exhibition revue in the 2174:, 19 rue Caumartin (Apr.26 - May 5). Exhibition revue in 2059:(commenced November 8). With Anquetin, Toulouse-Lautrec, 4190: 3984:

Shakespeare Reproduced: The Text in History and Ideology

1878:

Ignacio Zuloaga (c. 1895). Oil on canvas. 185 x 115 cm.

1579:, Thadée Natanson and H.T. Lautrec, Saint-Malo (1895-96) 1555:, or extended stays at the notorious closed-houses, the 391:, Moscow. Acquired by Shchukin in 1903 from Durand Ruel. 262:, a favourite haunt of young artists and writers run by 4114:

Arte e Critica in Italia nella prima metà del Novecento

4047:

Loving Picasso: The Private Journal of Fernande Olivier

4026:

Ignacio Zuloaga et la France, These d'Histoire de l'Art

3241: 3239: 3237: 3110: 3108: 3106: 3104: 3102: 2918:

lithographic process, and the in-text illustrations in

2108:"une jolie petite femme en rouge de M. Maxime Dethomas" 1918:, married Valentine Dethomas, with Eugène Carrière and 1258:, and Master Peter's Puppet Show, Falla's close friend 3640: 3638: 403:

Dethomas' early style owes most to the influence of

307:. In 1888, Gervex began his tenure as instructor at 4352: 4309: 4228: 3623:

Hotel Drouot sale no. VIII, March 3, 1928, Lot 144.

1834:, and would both later study under Carrière at the 111: 97: 89: 81: 62: 43: 21: 3751: 3749: 2065:Le Petit Parisien : journal quotidien du soir 1982:Poster designed by Maxime Dethomas and printed by 1195:went on to present nearly twenty plays, including 883:Homme au melon et femme à la manchette - Le Regard 4171:Maxime Dethomas, Archives nationales, Base Arcade 3849:Apollinaire on Art: Essays and Reviews, 1902-1918 2911:, which was both a popular and critical success. 2491:1911 - Exhibited (solo) drawings and sketches at 4054:Le Cimetière de Passy et ses Sépultures Celebres 3605:Gale 1902; Berthelot 1902, p.2; Perruchot, p.226 4035:. Canadian Federation for the Humanities, 1981. 2501: 2477:1908 - Exhibited with Rodin and Zuloaga at the 2206: 2180: 2170:1900 - First solo exhibition took place at the 2044:Le Matin : derniers télégrammes de la nuit 1775: 1756: 1250:'s 50th birthday. With a program consisting of 502: 411:, whilst later works tend more towards that of 181:Bibliothèque-Musée de l'Opéra National de Paris 3565: 3563: 3300: 3298: 3296: 3200: 3198: 3196: 3194: 3192: 3081: 3079: 387:- Maxime Dethomas c.1895. Pastel (67 x 47cm). 4206: 2842:Ouvers Completes Illustrees, Tome I, IX, XIII 2528:(Mar.13 - 25) with Baignières, Desvallières, 2307:, Paris. Five drawings (lot 461–465) titled: 2144:exhibition review of September, 1896 states: 399:Maxime Dethomas with his Siamese cat (c.1900) 8: 2030:, commenced July 10, with Toulouse-Lautrec, 2015:Journal des débats politiques et littéraires 2150:1897 - Exhibited at the 14th (quatorzième) 1890:moment at which their romance was kindled. 959:Femme assise au manchon et chapeau à plumes 4213: 4199: 4191: 4092:Modern Painting - Its Tendency and Meaning 3998:Lautrec: Biographical and Critical Studies 3377:Agen, p.150,180; Carson, p.79; Milhou 1991 29: 18: 2130:1896 - Exhibited at the 13th (treizième) 1141:From 1910 to 1913, Dethomas worked under 141:, and a founding committee member of the 4121:Toulouse-Lautrec: A Definitive Biography 4061:Toulouse-Lautrec: A Definitive Biography 3934:. Weidenfeld and Nicolson, London, 1994. 3859:De Stijl: The Formative Years, 1917-1922 2832:La vie et l`oeuvre de Claudio Monteverdi 2217:La Libre Esthétique - Dixième Exhibition 1698:National Gallery of Art, Washington D.C. 299:Disgruntled with his experiences at the 4151:The National Gallery of Art, Washington 3066: 2925: 2113:1896 - Exhibited at the 11th (onzième) 2083:1895 - Exhibited at the 10th (dixième) 2070:1895 - Exhibited at the 9th (neuvième) 2049:1895 - Exhibited at the 8th (huitième) 2020:1894 - Exhibited at the 7th (septième) 1864:. Fame, however, did not come quickly. 1800:Aimienne, ou le détournement de mineure 1792:L'Example de Ninon de Lenclos amoureuse 1284: 864:Elégant en robe blanche à la cigarette 550: 4161:Musée des Beaux-Arts, Bordeaux, France 3332:Garafola, p.86; Milhou 1991, p.164-171 1991:1894 - Exhibited at the 6th (sixième) 1318:Les dominos sur la musique de Couperin 582:An Elegant Parisiènne Seated in a Café 3632:Perruchot, p.231; Berthelot 1902, p.2 3485:Perruchot, p.140; Berthelot 1902, p.2 3341:Londre, p.498; Milhou 1991, p.175-217 2852:Les Folies Françaises, ou les Dominos 2204:supplement of April 25, 1903 states: 1694:Maxime Dethomas at the Bal de l'Opera 1643:Panneaux pour la baraque de la Goulue 1539:cabarets, shady bars and brothels of 548:for his contributions to French art. 153:for his contributions to French art. 130: 7: 4040:Henri de Toulouse-Lautrec, 1864-1901 3764:Huncker, J., N.Y. Times, Sept., 1911 1826:. They shared a deep admiration for 1447:Costume design for Henry VIII, 1920. 1294:Set design for Act I and Act III of 1212:Hired to direct and decorate at the 1205:(1911), and the stage production of 850:(c. 1905). H.D. Schimmel Collection. 496:. Prior to meeting Picasso in 1904, 3939:Legacies of Twentieth-Century Dance 3842:Manuel de Falla: His Life and Works 2564:(May. 11 – 31), in Florence, Italy. 1876:Retrato de Mlle. Valentine Dethomas 1035:Acteur sur scène devant deux femmes 713:Femme assise sur la plage (L'Epave) 3979:. Museum of Modern Art, N.Y. 1956. 3941:. Wesleyan University Press, 2005. 250:In 1887, Dethomas enrolled at the 14: 3868:. p. 1-2. September 9, 1902. 3698:Frey, p.440; Milhou 1991, p.77-83 2474:) with Lautrec, Dresa and others. 2373:Dans le Promenoir d’un music-hall 4458:19th-century French male artists 4433:20th-century French male artists 4156:The Hermitage Collection, Russia 4132: 3892:. Carson & Commerford, 1917. 3883:Critical Essays on Marcel Proust 3539:Milhou 1991, p.289; Taylor, p.78 3503:Perruchot, p.173, 233; Frey 1991 3186:Taylor, p.78; Milhou 1991, p.289 3040: 3024: 3008: 2992: 2976: 2960: 2944: 2928: 2408:) with Forain, Degas and others. 1915:Société Nationale des Beaux-Arts 1861:Société Nationale des Beaux-Arts 1459:Set design for the first act of 1452: 1440: 1418: 1396: 1375: 1353: 1331: 1309: 1287: 1105: 1089: 1073: 1058: 1042: 1026: 1006: 986: 966: 950: 930: 910: 890: 874: 855: 839: 819: 799: 792:Hermitage Museum, St. Petersburg 775: 751: 727: 721:Musée des Beaux-Arts, Marseille. 704: 697:Hermitage Museum, St. Petersburg 684: 668: 648: 628: 612: 592: 573: 553: 546:Chevalier de la Légion d'honneur 266:. It was here that he first met 150:Chevalier de la Légion d'honneur 116:Chevalier de la Légion d'honneur 4443:Knights of the Legion of Honour 4056:. Editions des Ecrivains, 1998. 3956:Encyclopedia of Decorative Arts 3782:Burlington Magazine, Feb., 1912 3773:Burlington Magazine, Apr., 1911 3557:Cooper, p.130; Frey, p.411, 434 2879:La Nuit du Bourreau de Soi-meme 2714:La Plus Belle Histoire du Monde 2616:1992 - Exhibited (solo) at the 2586:Exposition annuelle 2eme groupe 2569:Exposition annuelle 2eme groupe 2551:Exposition annuelle 2eme groupe 2522:Exposition annuelle 2eme groupe 2419:Grand Palais des Champs-Élysées 2349:Grand Palais des Champs-Élysées 2330:1906 - Exhibited (solo) at the 2305:Grand Palais des Champs-Élysées 2104:"Étude de femme en robe orange" 214:Early life and formal education 4033:Pierre Louÿs, His Life and Art 3918:A Treasury of Art Masterpieces 3913:. H.N. Abrams, New York, 1956. 3899:. Yale University Press, 2002. 2158:Galerie Le Barc de Boutteville 2153:Impressionistes et Symbolistes 2138:Galerie Le Barc de Boutteville 2133:Impressionistes et Symbolistes 2121:Galerie Le Barc de Boutteville 2116:Impressionistes et Symbolistes 2091:Galerie Le Barc de Boutteville 2086:Impressionistes et Symbolistes 2078:Galerie Le Barc de Boutteville 2073:Impressionistes et Symbolistes 2057:Galerie Le Barc de Boutteville 2052:Impressionistes et Symbolistes 2028:Galerie Le Barc de Boutteville 2023:Impressionistes et Symbolistes 1999:Galerie Le Barc de Boutteville 1994:Impressionistes et Symbolistes 1182:Les dominos sur la musique de 566:Musée des Beaux-Arts, Bordeaux 147:. In 1912, he was awarded the 138:Impressionistes et Symbolistes 1: 4028:. October 1979, Bordeaux III. 3970:Misia: The Life of Misia Sert 3878:. Yale University Press, 2007 3512:see: exhibition reviews, 1894 3431:Berthelot, p.2; Craven, p.280 3350:Garafola, p.154; Taylor, p.88 2650:Ou le Detournement de Mineure 2484:1911 - Exhibited at the 10th 2172:Galerie des Artistes Modernes 1661:at Haarlem and the island of 513:already attracting attention. 4428:20th-century French painters 4418:19th-century French painters 4146:Musee d'Orsay, Paris, France 4090:Wright, Willard Huntington. 4005:The History of World Theatre 2461:Exposition de la Toison d'or 2448:1908 - Exhibited at the 2nd 2411:1907 - Exhibited at the 5th 2389:1907 - Exhibited at the 1st 2341:1906 - Exhibited at the 4th 2297:1905 - Exhibited at the 3rd 2262:1904 - Exhibited at the 2nd 2232:1903 - Exhibited at the 1st 1898:Countess Mathieu de Noailles 768:Palais des Beaux-Arts, Lille 744:Palais des Beaux-Arts, Lille 661:Palais des Beaux-Arts, Lille 226:Born in the Paris suburb of 124:Maxime-Pierre Jules Dethomas 48:Maxime-Pierre Jules Dethomas 3920:. Simon and Schuster, 1958. 2721:Dingley l'illustre écrivain 2499:review of March 30 states: 2332:Galerie de l'Art Decoratif 2196:1903 - Exhibited (Solo) at 2042:) by Dethomas". (Review in 1843:Salon des Artistes Français 828:Cliente au Café du Rat Mort 340:, 104 Boulevard de Clichy, 4474: 4413:Artists from Île-de-France 4166:Van Gogh Museum, Amsterdam 4112:Lorenzi, G. et al. (2011) 4070:. February 2, 1929, Paris. 3963:My Friend Toulouse-Lautrec 3927:. Galahad, New York, 1964. 3049:La Turque - Roman Parisian 2909:Galerie de l'Art Decoratif 2677:La Turque - Roman Parisian 2620:, Paris (Feb.25 - May.24). 2584:1917 - Exhibited with the 2567:1914 - Exhibited with the 2549:1913 - Exhibited with the 2520:1911 - Exhibited with the 2381:Les Recits de l’experience 2001:, commenced March 2, with 943:Musée de Montmartre, Paris 657:Homme mettant un pardessus 4438:Burials at Passy Cemetery 3965:. Spearmen, London, 1957. 3911:Henri de Toulouse-Lautrec 3132:Milhou 1991; Taylor, p.78 2862:La Mojiganga de la muerte 2772:Ariel ou la Vie de Shelly 2719:Jean and Jérome Tharaud, 2606:, Paris (Mar.20 - Apr.5). 2597:Musée des Arts Décoratifs 2562:Societa Leonardo da Vinci 2357:La Cliente de la Cremerie 1498:Henri de Toulouse-Lautrec 1474:Henri de Toulouse-Lautrec 1432:Musée des Arts Décoratifs 1410:Musée des Arts Décoratifs 1389:Musée des Arts Décoratifs 1382:Set design for Roussel's 1367:Musée des Arts Décoratifs 1345:Musée des Arts Décoratifs 1323:Musée des Arts Décoratifs 1301:Musée des Arts Décoratifs 1246:in 1926 as it celebrated 1145:during his tenure at the 1015:Femme Assise dans un parc 523:le meilleur fils de Degas 301:École des Arts Décoratifs 272:Henri de Toulouse-Lautrec 253:École des Arts Décoratifs 192:and his association with 186:Henri de Toulouse-Lautrec 28: 16:French painter and artist 4334:Toulouse-Lautrec Cooking 4119:Perruchot, Henri (1960) 4063:. World, Cleveland,1960. 4014:. Knopf, New Yprk, 1953. 3932:Toulouse-Lautrec: A Life 3847:Apollinaire, Guillaume. 3671:Frey, p.488; Mack, p.358 3548:Mack, p.318; Frey, p.411 2869:Sous le Signe du Caribou 2692:François Chateaubriand, 2609:1929 - Exhibited at the 2595:1922 - Exhibited at the 2560:1913 - Exhibited at the 2542:1912 - Exhibited at the 2459:1908 - Exhibited at the 2423:Sollicite et Solliciteur 2251:1904 - Exhibited at the 2164:review of July 8 states 2096:1895 - Exhibited at the 1900:: Ignacio Zuloaga (1913) 975:Sous l’oeil des Barbares 4080:, January, 1909. Paris. 2456:with Forain and others. 2427:Sous l’œil des Barbares 2397:with Forain and others. 2369:L’Habituee du petit Bar 2178:of May 5, 1900 states: 2099:Maison de l'Art Nouveau 2013:and others. (Review in 1880:San Telmo Museoa, Spain 1519:. Contemporaries, like 1225:Théâtre Sarah-Bernhardt 1168:Le Carnaval des Enfants 1135:Le Carnaval des Enfants 176:National Gallery of Art 4408:People from Val-d'Oise 4087:, July 7, 1905. Paris. 3958:. Galahad Books, 1982. 3844:. Omnibus Press, 1999. 3818:Milhou 1991, p.105-106 3725:Milhou 1991, p.100-102 3386:Milhou 1991, p.292-297 3263:Milhou 1991, p.107-120 3087:"Notice no. LH/762/32" 2867:Charles de Saint-Cyr, 2506: 2253:St. Louis World's Fair 2228: 2211: 2202:Gazette des beaux-arts 2185: 1987: 1936: 1901: 1882: 1855:Salon des Indépendants 1837:Académie de La Palette 1815: 1779: 1767: 1722: 1702:Debauche Avec Dethomas 1679: 1673:Débauche avec Dethomas 1650: 1633:Musée Toulouse-Lautrec 1607: 1603:Musée Toulouse-Lautrec 1580: 1566:le Barc de Boutteville 1535: 1483: 1202:The Brothers Karamazov 1188: 1138: 1066:Femme attablée au café 1019:Musée Toulouse-Lautrec 868:Musée Toulouse-Lautrec 832:Art Gallery of Ontario 677:La cliente du Rat Mort 605:Pushkin Museum, Moscow 515: 400: 392: 377: 369: 337:Académie de La Palette 296: 288: 281: 239: 223: 222:Maxime Dethomas c.1895 132:[maksimdətɔma] 38:, 1896 by H.T. Lautrec 4141:at Wikimedia Commons 3991:France and the French 3897:Marcel Proust: A Life 3864:Berthelot, Phillipe. 3851:. Viking Press, 1972. 3422:Milhou 1991, p.50-52) 3114:Vauxcelles, p.265-283 3033:Esquisses Vénitiennes 3017:Esquisses Vénitiennes 3001:Esquisses Vénitiennes 2985:Esquisses Vénitiennes 2969:Esquisses Vénitiennes 2953:Esquisses Vénitiennes 2937:Esquisses Vénitiennes 2920:Esquisses Vénitiennes 2901:Esquisses Vénitiennes 2660:Esquisses Venetiennes 2481:, Frankfurt, Germany. 2472:Galerie Georges Petit 2406:Galerie Georges Petit 2336:Esquisses Venetiennes 2226: 2067:– November 12, 1894.) 1981: 1934: 1896: 1874: 1813: 1717: 1671: 1641: 1599: 1575: 1533: 1481: 1384:Festin de l'Araingnee 1280:Guillaume Apollinaire 1207:La Tragédie de Salomé 1176: 1129: 1051:Elégante à l’éventail 921:(Before Aug., 1905). 901:(Before Aug., 1905). 562:La femme au parapluie 398: 383: 375: 367: 294: 286: 276: 237: 221: 188:, his brother in-law 4453:People of Montmartre 4423:French male painters 4105:Milhou, Mayi (1991) 4066:Roger-Marx, Claude. 3996:Lassaigne, Jacques. 3989:Huddleston, Sisley. 3881:Bucknall, Barabara. 3840:Agen, Manzani Diaz. 3734:Neideraruer, p.71-73 3494:Milhou 1991, p.59-60 3245:Vauxcelles 1905, p.1 3141:Milhou 1991, 288-289 2812:Le Reste est Silence 2535:1912 - Exhibited at 2513:1911 - Exhibited at 2466:1908 - Exhibited at 2400:1907 - Exhibited at 2215:1903 - Exhibited at 2189:1901 - Exhibited at 1963:The Sweet Cheat Gone 1405:Festin de l'Araignée 1296:Carnaval des Enfants 923:Musée d'Orsay, Paris 903:Musée d'Orsay, Paris 621:Woman in her bedroom 198:and other important 4361:L'Estampe originale 4261:Henri-Gabriel Ibels 4123:. World, Cleveland. 4083:Vauxcelles, Louis. 4076:Vauxcelles, Louis. 4045:Olivier, Fernande. 4031:Neiderauer, David. 3890:The Stage Year Book 3290:Berthelot 1902, p.2 2822:Le Couvent de Bella 2743:Boileau Despreaux, 2694:La Campagne Romaine 2515:La Libre Esthétique 2488:in the Grand Palais 2450:Salon de Humoristes 2391:Salon de Humoristes 2198:Galerie Durand-Ruel 1968:Galerie Durand-Ruel 1849:Barc de Boutteville 1403:Costume design for 1360:Costume design for 1316:Costume design for 1160:services plastiques 1158:As director of the 586:N.G.A., Washington. 4377:Post-Impressionism 4281:Ker-Xavier Roussel 4078:Art and Decoration 4059:Perruchot, Henri. 4052:Prade, Guy de la. 4007:. Continuum, 1999. 3986:. Routledge, 2005. 3925:Lautrec by Lautrec 3885:. G.K. Hall, 1987. 3874:Boone, Elizabeth. 3861:. MIT Press, 1986. 3827:Milhou 1991, p.271 3716:Milhou 1991, p.101 3653:Milhou 1991, p. 75 3413:Apollinaire, p.221 3323:, October 16, 2022 3313:Blakenmore, Erin, 3272:Olivier, p.125-126 3159:Milhou 1991, p. 63 2755:Le Diable Amoureux 2497:l’Action Francaise 2495:(Mar.27 - Apr.8). 2468:La Comédie Humaine 2402:La Comédie Humaine 2317:Premiere Auditrice 2229: 2191:Galerie Silberberg 2156:exhibition at the 2136:exhibition at the 2119:exhibition at the 2089:exhibition at the 2076:exhibition at the 2055:exhibition at the 2026:exhibition at the 1997:exhibition at the 1988: 1937: 1902: 1883: 1816: 1723: 1719:Anna Held et Baldy 1680: 1677:"Au Gros n'arbre". 1651: 1608: 1581: 1536: 1525:Philippe Berthelot 1489:Revue Indépendante 1484: 1362:Prologue de Thésée 1340:Prologue de Thésée 1189: 1139: 519:Philippe Berthelot 465:Théâtre de l'Œuvre 401: 393: 378: 370: 350:Puvis de Chavannes 297: 289: 259:Revue Indépendante 240: 228:Garges-lès-Gonesse 224: 200:Post-Impressionist 102:Post-Impressionism 55:Garges-lès-Gonesse 4385: 4384: 4342:Homage to Cézanne 4137:Media related to 4116:, Gangemi. Italy. 4068:L'Europe Nouvelle 4021:. Bordeaux, 1991. 4003:Londre, Felicia. 3961:Gauzi, François. 3909:Cooper, Douglas. 3902:Cheney, Sheldon. 3895:Carter, William. 3689:Milhou 1991, p.77 3680:Milhou 1991, p.76 3644:Milhou 1991, p.75 3596:Milhou 1991, p.74 3254:Milhou 1991, p.65 3177:Milhou 1979; 1991 3168:Milhou 1991, p.64 3150:Milhou 1991, p.51 3073:Huddleston, p.126 2848:François Couperin 2704:Adieu à la Guerre 2675:Eugène Montfort, 2321:Seconde Auditrice 2309:Au moment du cafe 2288:La violincelliste 2280:Le premier violin 2176:La Vie Parisienne 2142:Mercure de France 2046:- July 22, 1894.) 2017:– March 3, 1894.) 1696:now hangs in the 1659:Frans Hals Museum 1612:Gabrielle Dorziat 1240:in 1920; and the 1219:Comédie Française 1199:'s adaptation of 1112:Maxime Dethomas: 1098:Parisienne assise 1096:Maxime Dethomas: 1080:Maxime Dethomas: 1049:Maxime Dethomas: 1033:Maxime Dethomas: 1013:Maxime Dethomas: 993:Maxime Dethomas: 973:Maxime Dethomas: 957:Maxime Dethomas: 937:Maxime Dethomas: 917:Maxime Dethomas: 897:Maxime Dethomas: 881:Maxime Dethomas: 862:Maxime Dethomas: 846:Maxime Dethomas: 826:Maxime Dethomas: 808:Le violoncelliste 806:Maxime Dethomas: 782:Maxime Dethomas: 758:Maxime Dethomas: 734:Maxime Dethomas: 711:Maxime Dethomas: 691:Maxime Dethomas: 675:Maxime Dethomas: 655:Maxime Dethomas: 635:Maxime Dethomas: 619:Maxime Dethomas: 599:Maxime Dethomas: 580:Maxime Dethomas: 560:Maxime Dethomas: 385:La dame au miroir 121: 120: 4465: 4301:Édouard Vuillard 4271:Aristide Maillol 4215: 4208: 4201: 4192: 4136: 4042:. Taschen, 1999. 4012:Toulouse-Lautrec 3952:Garner, Philippe 3937:Garafola, Lynn. 3916:Craven, Thomas. 3904:Stage Decoration 3888:Carson, Lionel. 3828: 3825: 3819: 3816: 3810: 3807: 3801: 3798: 3792: 3789: 3783: 3780: 3774: 3771: 3765: 3762: 3756: 3753: 3744: 3741: 3735: 3732: 3726: 3723: 3717: 3714: 3708: 3705: 3699: 3696: 3690: 3687: 3681: 3678: 3672: 3669: 3663: 3660: 3654: 3651: 3645: 3642: 3633: 3630: 3624: 3621: 3615: 3614:Perruchot, p.233 3612: 3606: 3603: 3597: 3594: 3588: 3585: 3579: 3578:Perruchot, p.235 3576: 3570: 3567: 3558: 3555: 3549: 3546: 3540: 3537: 3531: 3528: 3522: 3521:Perruchot, p.201 3519: 3513: 3510: 3504: 3501: 3495: 3492: 3486: 3483: 3477: 3474: 3468: 3465: 3459: 3458:Lassaigne, p.119 3456: 3450: 3449:Perruchot, p.140 3447: 3441: 3438: 3432: 3429: 3423: 3420: 3414: 3411: 3405: 3402: 3396: 3393: 3387: 3384: 3378: 3375: 3369: 3366: 3360: 3357: 3351: 3348: 3342: 3339: 3333: 3330: 3324: 3311: 3305: 3302: 3291: 3288: 3282: 3279: 3273: 3270: 3264: 3261: 3255: 3252: 3246: 3243: 3232: 3229: 3223: 3220: 3214: 3211: 3205: 3202: 3187: 3184: 3178: 3175: 3169: 3166: 3160: 3157: 3151: 3148: 3142: 3139: 3133: 3130: 3124: 3121: 3115: 3112: 3097: 3096: 3083: 3074: 3071: 3044: 3028: 3012: 2996: 2980: 2964: 2948: 2932: 2897:Henri de Régnier 2875:François Mauriac 2656:Henri de Regnier 2604:Galerie Simonson 2544:Artz and De Bois 2284:Le second violin 2036:Femme à la tasse 1907:Anna de Noailles 1740:Paris Exposition 1543:, including the 1456: 1444: 1422: 1400: 1379: 1357: 1335: 1313: 1291: 1193:Théâtre des Arts 1178:Théâtre des Arts 1164:Théâtre des Arts 1148:Théâtre des Arts 1131:Théatre des Arts 1114:Une Femme Assise 1109: 1093: 1077: 1062: 1046: 1030: 1010: 990: 970: 954: 934: 914: 894: 878: 859: 843: 823: 803: 790:, 1904, n°1424. 784:Le second violin 779: 766:, 1904, n°1421. 755: 742:, 1904, n°1420. 736:La Transtéverine 731: 708: 688: 672: 652: 632: 616: 596: 577: 557: 534:Olivier Sainsère 498:Fernande Olivier 437:Louis Vauxcelles 413:Toulouse-Lautrec 321:Santiago Rusiñol 309:l'Académie Libre 264:Édouard Dujardin 172:Hermitage Museum 159:Théâtre des Arts 134: 129: 69: 51:October 13, 1867 33: 19: 4473: 4472: 4468: 4467: 4466: 4464: 4463: 4462: 4388: 4387: 4386: 4381: 4348: 4305: 4291:Félix Vallotton 4266:Georges Lacombe 4246:Maxime Dethomas 4224: 4219: 4139:Maxime Dethomas 4130: 4102: 4100:Further reading 4097: 4049:. Abrams, 2001. 4038:Néret, Gilles. 4010:Mack, Gerstle. 3948:. May 27, 1902. 3855:Blotkamp, Carel 3836: 3831: 3826: 3822: 3817: 3813: 3808: 3804: 3799: 3795: 3790: 3786: 3781: 3777: 3772: 3768: 3763: 3759: 3755:Bucknall, p.178 3754: 3747: 3742: 3738: 3733: 3729: 3724: 3720: 3715: 3711: 3706: 3702: 3697: 3693: 3688: 3684: 3679: 3675: 3670: 3666: 3661: 3657: 3652: 3648: 3643: 3636: 3631: 3627: 3622: 3618: 3613: 3609: 3604: 3600: 3595: 3591: 3586: 3582: 3577: 3573: 3568: 3561: 3556: 3552: 3547: 3543: 3538: 3534: 3529: 3525: 3520: 3516: 3511: 3507: 3502: 3498: 3493: 3489: 3484: 3480: 3476:Frey 1991, p.71 3475: 3471: 3466: 3462: 3457: 3453: 3448: 3444: 3439: 3435: 3430: 3426: 3421: 3417: 3412: 3408: 3404:Cheney, p.5, 92 3403: 3399: 3394: 3390: 3385: 3381: 3376: 3372: 3367: 3363: 3358: 3354: 3349: 3345: 3340: 3336: 3331: 3327: 3312: 3308: 3303: 3294: 3289: 3285: 3281:Roger-Marx, 140 3280: 3276: 3271: 3267: 3262: 3258: 3253: 3249: 3244: 3235: 3230: 3226: 3221: 3217: 3213:Perruchot, 1960 3212: 3208: 3203: 3190: 3185: 3181: 3176: 3172: 3167: 3163: 3158: 3154: 3149: 3145: 3140: 3136: 3131: 3127: 3122: 3118: 3113: 3100: 3085: 3084: 3077: 3072: 3068: 3064: 3059: 3052: 3045: 3036: 3029: 3020: 3013: 3004: 2997: 2988: 2981: 2972: 2965: 2956: 2949: 2940: 2933: 2894: 2885:Alphonse Daudet 2828:Henry Prunières 2802:La Mort du Loup 2798:Albert Touchard 2792:Theatre Complet 2778:Arthur Gobineau 2760:Jean de Tinan, 2731:Tete D’or Drame 2710:Rudyard Kipling 2630: 2611:Salon d'Automne 2486:Salon d'Automne 2454:Palais de Glace 2414:Salon d'Automne 2395:Palais de Glace 2377:Les Trottinuers 2344:Salon d'Automne 2313:Le Conferencier 2300:Salon d'Automne 2264:Salon d'Automne 2234:Salon d'Automne 1976: 1954: 1929: 1820:Ignacio Zuloaga 1808: 1806:Ignacio Zuloaga 1784: 1688:dancer Louise ' 1557:Rue de' Amboise 1521:Gustave Coquiot 1476: 1471: 1464: 1457: 1448: 1445: 1436: 1425:Set design for 1423: 1414: 1401: 1392: 1380: 1371: 1358: 1349: 1338:Set design for 1336: 1327: 1314: 1305: 1292: 1260:Ignacio Zuloaga 1248:Manuel de Falla 1153:La Grande Revue 1124: 1117: 1110: 1101: 1094: 1085: 1082:La Femme Ideale 1078: 1069: 1063: 1054: 1047: 1038: 1031: 1022: 1011: 1002: 999:Salon d’Automne 991: 982: 979:Salon d’Automne 971: 962: 955: 946: 935: 926: 915: 906: 895: 886: 879: 870: 860: 851: 844: 835: 824: 815: 814:, 1904, n°1425. 812:Salon d’Automne 804: 795: 788:Salon d’Automne 780: 771: 764:Salon d’Automne 756: 747: 740:Salon d’Automne 732: 723: 719:, 1903, n°655. 717:Salon d’Automne 709: 700: 689: 680: 673: 664: 653: 644: 633: 624: 617: 608: 597: 588: 578: 569: 558: 538:Sergei Shchukin 490:Suzanne Desprès 362: 354:Eugène Carrière 317:Ignacio Zuloaga 216: 190:Ignacio Zuloaga 144:Salon d'Automne 127: 77: 71: 67: 66:21 January 1929 58: 52: 50: 49: 39: 36:Maxime Dethomas 24: 23:Maxime Dethomas 17: 12: 11: 5: 4471: 4469: 4461: 4460: 4455: 4450: 4445: 4440: 4435: 4430: 4425: 4420: 4415: 4410: 4405: 4400: 4390: 4389: 4383: 4382: 4380: 4379: 4374: 4369: 4364: 4356: 4354: 4350: 4349: 4347: 4346: 4338: 4330: 4326:The Seamstress 4322: 4313: 4311: 4307: 4306: 4304: 4303: 4298: 4293: 4288: 4283: 4278: 4273: 4268: 4263: 4258: 4253: 4251:Meijer de Haan 4248: 4243: 4238: 4236:Pierre Bonnard 4232: 4230: 4226: 4225: 4220: 4218: 4217: 4210: 4203: 4195: 4189: 4188: 4183: 4178: 4173: 4168: 4163: 4158: 4153: 4148: 4129: 4128:External links 4126: 4125: 4124: 4117: 4110: 4101: 4098: 4096: 4095: 4088: 4081: 4074: 4071: 4064: 4057: 4050: 4043: 4036: 4029: 4024:Milhou, Mayi. 4022: 4017:Milhou, Mayi. 4015: 4008: 4001: 3994: 3987: 3982:Howard, Jean. 3980: 3973: 3972:. Knopf, 1980. 3968:Gold, Arthur. 3966: 3959: 3949: 3944:Gale, Martin. 3942: 3935: 3928: 3921: 3914: 3907: 3900: 3893: 3886: 3879: 3872: 3869: 3862: 3852: 3845: 3837: 3835: 3832: 3830: 3829: 3820: 3811: 3802: 3793: 3791:Blotkamp, p.81 3784: 3775: 3766: 3757: 3745: 3736: 3727: 3718: 3709: 3700: 3691: 3682: 3673: 3664: 3655: 3646: 3634: 3625: 3616: 3607: 3598: 3589: 3580: 3571: 3559: 3550: 3541: 3532: 3523: 3514: 3505: 3496: 3487: 3478: 3469: 3460: 3451: 3442: 3433: 3424: 3415: 3406: 3397: 3388: 3379: 3370: 3361: 3352: 3343: 3334: 3325: 3306: 3292: 3283: 3274: 3265: 3256: 3247: 3233: 3224: 3215: 3206: 3188: 3179: 3170: 3161: 3152: 3143: 3134: 3125: 3116: 3098: 3075: 3065: 3063: 3060: 3058: 3055: 3054: 3053: 3046: 3039: 3037: 3030: 3023: 3021: 3014: 3007: 3005: 2998: 2991: 2989: 2982: 2975: 2973: 2966: 2959: 2957: 2950: 2943: 2941: 2934: 2927: 2893: 2892: 2882: 2872: 2865: 2858:Pedro Calderón 2855: 2845: 2838:Anatole France 2835: 2825: 2818:Jean Giraudoux 2815: 2805: 2795: 2785: 2775: 2765: 2762:Noctambulismes 2758: 2751:Jaques Cazotte 2748: 2741: 2734: 2724: 2717: 2707: 2700:Jean Giraudoux 2697: 2690: 2683:Jean Giraudoux 2680: 2673: 2663: 2653: 2643: 2635: 2629: 2626: 2625: 2624: 2621: 2614: 2607: 2600: 2593: 2582: 2579: 2576: 2565: 2558: 2547: 2540: 2533: 2518: 2511: 2508: 2489: 2482: 2475: 2464: 2457: 2446: 2409: 2398: 2387: 2384: 2339: 2328: 2295: 2260: 2249: 2246:Franche Lippee 2221: 2220: 2213: 2194: 2187: 2168: 2148: 2128: 2111: 2094: 2081: 2068: 2047: 2018: 1975: 1972: 1953: 1950: 1928: 1925: 1807: 1804: 1783: 1780: 1577:Misia Natanson 1505:'Gros n'abre' 1494:Louis Anquetin 1475: 1472: 1470: 1467: 1466: 1465: 1458: 1451: 1449: 1446: 1439: 1437: 1424: 1417: 1415: 1402: 1395: 1393: 1381: 1374: 1372: 1359: 1352: 1350: 1337: 1330: 1328: 1315: 1308: 1306: 1293: 1286: 1231:Théâtre Femina 1197:Jacques Copeau 1143:Jacques Rouché 1123: 1120: 1119: 1118: 1111: 1104: 1102: 1095: 1088: 1086: 1079: 1072: 1070: 1064: 1057: 1055: 1048: 1041: 1039: 1032: 1025: 1023: 1012: 1005: 1003: 1001:, 1907, n°460. 995:L'Indifférente 992: 985: 983: 981:, 1907, n°459. 972: 965: 963: 956: 949: 947: 936: 929: 927: 916: 909: 907: 899:Le Solliciteur 896: 889: 887: 880: 873: 871: 861: 854: 852: 845: 838: 836: 825: 818: 816: 805: 798: 796: 781: 774: 772: 757: 750: 748: 733: 726: 724: 710: 703: 701: 690: 683: 681: 674: 667: 665: 654: 647: 645: 641:Galerie Hessel 634: 627: 625: 618: 611: 609: 598: 591: 589: 579: 572: 570: 559: 552: 478:Octave Mirbeau 474:Maurice Donnay 455:reproduction. 389:Pushkin Museum 361: 358: 329:Miquel Utrillo 268:Louis Anquetin 215: 212: 208:Passy Cemetery 119: 118: 113: 109: 108: 99: 95: 94: 91: 90:Known for 87: 86: 83: 79: 78: 72: 70:(aged 61) 64: 60: 59: 53: 47: 45: 41: 40: 34: 26: 25: 22: 15: 13: 10: 9: 6: 4: 3: 2: 4470: 4459: 4456: 4454: 4451: 4449: 4446: 4444: 4441: 4439: 4436: 4434: 4431: 4429: 4426: 4424: 4421: 4419: 4416: 4414: 4411: 4409: 4406: 4404: 4401: 4399: 4396: 4395: 4393: 4378: 4375: 4373: 4370: 4368: 4365: 4363: 4362: 4358: 4357: 4355: 4351: 4344: 4343: 4339: 4336: 4335: 4331: 4328: 4327: 4323: 4320: 4319: 4315: 4314: 4312: 4308: 4302: 4299: 4297: 4294: 4292: 4289: 4287: 4286:Paul Sérusier 4284: 4282: 4279: 4277: 4274: 4272: 4269: 4267: 4264: 4262: 4259: 4257: 4254: 4252: 4249: 4247: 4244: 4242: 4241:Maurice Denis 4239: 4237: 4234: 4233: 4231: 4227: 4223: 4216: 4211: 4209: 4204: 4202: 4197: 4196: 4193: 4187: 4184: 4182: 4179: 4177: 4174: 4172: 4169: 4167: 4164: 4162: 4159: 4157: 4154: 4152: 4149: 4147: 4144: 4143: 4142: 4140: 4135: 4127: 4122: 4118: 4115: 4111: 4108: 4104: 4103: 4099: 4093: 4089: 4086: 4082: 4079: 4075: 4072: 4069: 4065: 4062: 4058: 4055: 4051: 4048: 4044: 4041: 4037: 4034: 4030: 4027: 4023: 4020: 4016: 4013: 4009: 4006: 4002: 3999: 3995: 3993:. Cape, 1928. 3992: 3988: 3985: 3981: 3978: 3975:Hecht, Anne. 3974: 3971: 3967: 3964: 3960: 3957: 3953: 3950: 3947: 3943: 3940: 3936: 3933: 3930:Frey, Julia. 3929: 3926: 3922: 3919: 3915: 3912: 3908: 3906:. Blom, 1966. 3905: 3901: 3898: 3894: 3891: 3887: 3884: 3880: 3877: 3873: 3870: 3867: 3863: 3860: 3856: 3853: 3850: 3846: 3843: 3839: 3838: 3833: 3824: 3821: 3815: 3812: 3806: 3803: 3800:Garner, p.113 3797: 3794: 3788: 3785: 3779: 3776: 3770: 3767: 3761: 3758: 3752: 3750: 3746: 3743:Carter, p.337 3740: 3737: 3731: 3728: 3722: 3719: 3713: 3710: 3704: 3701: 3695: 3692: 3686: 3683: 3677: 3674: 3668: 3665: 3659: 3656: 3650: 3647: 3641: 3639: 3635: 3629: 3626: 3620: 3617: 3611: 3608: 3602: 3599: 3593: 3590: 3584: 3581: 3575: 3572: 3566: 3564: 3560: 3554: 3551: 3545: 3542: 3536: 3533: 3527: 3524: 3518: 3515: 3509: 3506: 3500: 3497: 3491: 3488: 3482: 3479: 3473: 3470: 3467:Cooper, p.130 3464: 3461: 3455: 3452: 3446: 3443: 3437: 3434: 3428: 3425: 3419: 3416: 3410: 3407: 3401: 3398: 3392: 3389: 3383: 3380: 3374: 3371: 3368:Londre, p.498 3365: 3362: 3356: 3353: 3347: 3344: 3338: 3335: 3329: 3326: 3322: 3318: 3317: 3310: 3307: 3301: 3299: 3297: 3293: 3287: 3284: 3278: 3275: 3269: 3266: 3260: 3257: 3251: 3248: 3242: 3240: 3238: 3234: 3228: 3225: 3222:Wright, p.221 3219: 3216: 3210: 3207: 3201: 3199: 3197: 3195: 3193: 3189: 3183: 3180: 3174: 3171: 3165: 3162: 3156: 3153: 3147: 3144: 3138: 3135: 3129: 3126: 3120: 3117: 3111: 3109: 3107: 3105: 3103: 3099: 3094: 3093: 3088: 3082: 3080: 3076: 3070: 3067: 3061: 3056: 3050: 3043: 3038: 3034: 3027: 3022: 3018: 3011: 3006: 3002: 2995: 2990: 2986: 2979: 2974: 2970: 2963: 2958: 2954: 2947: 2942: 2938: 2931: 2926: 2924: 2921: 2917: 2912: 2910: 2906: 2902: 2898: 2890: 2886: 2883: 2880: 2876: 2873: 2870: 2866: 2863: 2860:de la Barca, 2859: 2856: 2853: 2849: 2846: 2843: 2839: 2836: 2833: 2829: 2826: 2823: 2819: 2816: 2813: 2809: 2808:Edmond Jaloux 2806: 2803: 2799: 2796: 2793: 2789: 2786: 2783: 2779: 2776: 2773: 2769: 2768:Andre Maurois 2766: 2763: 2759: 2756: 2752: 2749: 2746: 2742: 2739: 2738:Jean de Tinan 2736:Andre Lebey, 2735: 2732: 2728: 2725: 2722: 2718: 2715: 2711: 2708: 2705: 2701: 2698: 2695: 2691: 2688: 2687:Amica America 2684: 2681: 2678: 2674: 2671: 2667: 2664: 2661: 2657: 2654: 2651: 2647: 2646:Jean de Tinan 2644: 2642:, Vol 1, 1896 2641: 2637: 2636: 2634: 2627: 2622: 2619: 2618:Musée d'Orsay 2615: 2612: 2608: 2605: 2601: 2598: 2594: 2591: 2590:Galerie Druet 2587: 2583: 2580: 2577: 2574: 2573:Galerie Druet 2570: 2566: 2563: 2559: 2556: 2555:Galerie Druet 2552: 2548: 2545: 2541: 2538: 2537:Galerie Druet 2534: 2531: 2527: 2526:Galerie Druet 2523: 2519: 2516: 2512: 2509: 2507: 2505: 2498: 2494: 2493:Galerie Druet 2490: 2487: 2483: 2480: 2476: 2473: 2469: 2465: 2462: 2458: 2455: 2451: 2447: 2444: 2440: 2436: 2432: 2431:L’Indifferent 2428: 2424: 2420: 2416: 2415: 2410: 2407: 2403: 2399: 2396: 2392: 2388: 2385: 2382: 2378: 2374: 2370: 2366: 2362: 2361:Les Ouvreuses 2358: 2354: 2350: 2346: 2345: 2340: 2337: 2333: 2329: 2326: 2322: 2318: 2314: 2310: 2306: 2302: 2301: 2296: 2293: 2289: 2285: 2281: 2277: 2273: 2269: 2268:Transteverine 2265: 2261: 2258: 2254: 2250: 2247: 2243: 2239: 2235: 2231: 2230: 2225: 2218: 2214: 2212: 2210: 2203: 2199: 2195: 2192: 2188: 2186: 2184: 2177: 2173: 2169: 2167: 2163: 2159: 2155: 2154: 2149: 2147: 2143: 2139: 2135: 2134: 2129: 2126: 2122: 2118: 2117: 2112: 2109: 2105: 2101: 2100: 2095: 2092: 2088: 2087: 2082: 2079: 2075: 2074: 2069: 2066: 2062: 2058: 2054: 2053: 2048: 2045: 2041: 2038:) and Sleep ( 2037: 2033: 2029: 2025: 2024: 2019: 2016: 2012: 2008: 2004: 2000: 1996: 1995: 1990: 1989: 1985: 1980: 1973: 1971: 1969: 1965: 1964: 1959: 1958:Marcel Proust 1952:Marcel Proust 1951: 1949: 1946: 1942: 1933: 1926: 1924: 1921: 1920:Isaac Albéniz 1917: 1916: 1910: 1908: 1899: 1895: 1891: 1887: 1881: 1877: 1873: 1869: 1865: 1863: 1862: 1857: 1856: 1851: 1850: 1845: 1844: 1839: 1838: 1833: 1829: 1825: 1821: 1812: 1805: 1803: 1801: 1795: 1793: 1789: 1788:Jean de Tinan 1782:Jean de Tinan 1781: 1778: 1774: 1772: 1766: 1763: 1759: 1755: 1752: 1750: 1746: 1741: 1736: 1733: 1727: 1720: 1716: 1712: 1710: 1708: 1703: 1699: 1695: 1691: 1687: 1686: 1678: 1674: 1670: 1666: 1664: 1660: 1656: 1648: 1647:Musée d'Orsay 1644: 1640: 1636: 1634: 1630: 1626: 1622: 1618: 1613: 1606: 1604: 1598: 1594: 1592: 1591: 1590:fin-de-siècle 1586: 1578: 1574: 1570: 1568: 1567: 1562: 1558: 1554: 1553: 1548: 1547: 1542: 1532: 1528: 1526: 1522: 1518: 1512: 1510: 1506: 1501: 1499: 1495: 1491: 1490: 1480: 1473: 1468: 1462: 1455: 1450: 1443: 1438: 1434: 1433: 1428: 1421: 1416: 1412: 1411: 1406: 1399: 1394: 1391: 1390: 1385: 1378: 1373: 1369: 1368: 1363: 1356: 1351: 1347: 1346: 1341: 1334: 1329: 1325: 1324: 1319: 1312: 1307: 1303: 1302: 1297: 1290: 1285: 1283: 1281: 1277: 1273: 1269: 1263: 1261: 1257: 1256:El Amor Brujo 1253: 1252:La Vida Breve 1249: 1245: 1244: 1243:Opéra-Comique 1239: 1238: 1233: 1232: 1228:in 1919; the 1227: 1226: 1221: 1220: 1215: 1210: 1208: 1204: 1203: 1198: 1194: 1186: 1185: 1179: 1175: 1171: 1169: 1165: 1161: 1156: 1154: 1150: 1149: 1144: 1136: 1132: 1128: 1121: 1115: 1108: 1103: 1099: 1092: 1087: 1083: 1076: 1071: 1067: 1061: 1056: 1052: 1045: 1040: 1036: 1029: 1024: 1020: 1016: 1009: 1004: 1000: 996: 989: 984: 980: 976: 969: 964: 960: 953: 948: 944: 940: 933: 928: 924: 920: 913: 908: 904: 900: 893: 888: 884: 877: 872: 869: 865: 858: 853: 849: 842: 837: 833: 829: 822: 817: 813: 809: 802: 797: 793: 789: 785: 778: 773: 769: 765: 761: 760:La Vénitienne 754: 749: 745: 741: 737: 730: 725: 722: 718: 714: 707: 702: 698: 694: 693:The Governess 687: 682: 679:(Sept. 1901). 678: 671: 666: 662: 658: 651: 646: 642: 638: 631: 626: 622: 615: 610: 606: 602: 595: 590: 587: 583: 576: 571: 567: 563: 556: 551: 549: 547: 543: 542:Pierre Cluzel 539: 535: 531: 526: 524: 520: 514: 510: 506: 501: 499: 495: 491: 487: 486:fin de siècle 481: 479: 475: 471: 467: 466: 461: 456: 454: 449: 445: 440: 438: 434: 430: 426: 422: 418: 414: 410: 406: 397: 390: 386: 382: 374: 366: 359: 357: 355: 351: 347: 343: 339: 338: 332: 330: 326: 322: 318: 314: 313:rue Verniquet 310: 306: 302: 293: 285: 280: 275: 273: 269: 265: 261: 260: 255: 254: 248: 246: 236: 232: 229: 220: 213: 211: 209: 205: 201: 197: 196: 191: 187: 183: 182: 177: 173: 169: 168:Musée d'Orsay 165: 161: 160: 154: 152: 151: 146: 145: 140: 139: 133: 125: 117: 114: 110: 107: 103: 100: 96: 92: 88: 84: 80: 75: 65: 61: 56: 46: 42: 37: 32: 27: 20: 4359: 4340: 4332: 4324: 4318:The Talisman 4316: 4256:Hermann-Paul 4245: 4131: 4120: 4113: 4106: 4091: 4084: 4077: 4067: 4060: 4053: 4046: 4039: 4032: 4025: 4018: 4011: 4004: 3997: 3990: 3983: 3976: 3969: 3962: 3955: 3945: 3938: 3931: 3924: 3923:Dortu, M.G. 3917: 3910: 3903: 3896: 3889: 3882: 3875: 3865: 3858: 3848: 3841: 3834:Bibliography 3823: 3814: 3805: 3796: 3787: 3778: 3769: 3760: 3739: 3730: 3721: 3712: 3707:Boone, p.179 3703: 3694: 3685: 3676: 3667: 3658: 3649: 3628: 3619: 3610: 3601: 3592: 3583: 3574: 3553: 3544: 3535: 3530:Neret, p.133 3526: 3517: 3508: 3499: 3490: 3481: 3472: 3463: 3454: 3445: 3436: 3427: 3418: 3409: 3400: 3395:Taylor, p.88 3391: 3382: 3373: 3364: 3359:Howard, p.92 3355: 3346: 3337: 3328: 3314: 3309: 3286: 3277: 3268: 3259: 3250: 3231:Taylor, p.78 3227: 3218: 3209: 3182: 3173: 3164: 3155: 3146: 3137: 3128: 3123:Prade, p.131 3119: 3095:(in French). 3092:Base Léonore 3090: 3069: 3048: 3032: 3016: 3000: 2984: 2968: 2952: 2936: 2919: 2913: 2908: 2900: 2895: 2888: 2878: 2868: 2861: 2851: 2841: 2831: 2821: 2811: 2801: 2791: 2781: 2771: 2761: 2754: 2744: 2737: 2730: 2727:Paul Claudel 2720: 2713: 2703: 2693: 2686: 2676: 2669: 2659: 2649: 2648:, Aimienne, 2639: 2631: 2628:Publications 2617: 2610: 2603: 2596: 2589: 2585: 2572: 2568: 2561: 2554: 2550: 2543: 2536: 2525: 2521: 2514: 2502: 2500: 2496: 2492: 2485: 2478: 2471: 2467: 2460: 2453: 2449: 2442: 2438: 2434: 2430: 2426: 2422: 2418: 2412: 2405: 2401: 2394: 2390: 2380: 2376: 2372: 2368: 2365:L’Age ingrat 2364: 2360: 2356: 2353:L’Inamovable 2352: 2348: 2342: 2335: 2331: 2324: 2320: 2316: 2312: 2308: 2304: 2298: 2292:Le trombonne 2291: 2287: 2283: 2279: 2275: 2271: 2267: 2256: 2245: 2241: 2237: 2216: 2207: 2205: 2201: 2197: 2190: 2181: 2179: 2175: 2171: 2165: 2161: 2157: 2151: 2145: 2141: 2137: 2131: 2125:"Des fleurs" 2124: 2120: 2114: 2107: 2103: 2097: 2090: 2084: 2077: 2071: 2064: 2056: 2050: 2043: 2039: 2035: 2027: 2021: 2014: 1998: 1992: 1984:Auguste Clot 1967: 1961: 1955: 1944: 1941:Pierre Louys 1938: 1927:Pierre Louys 1913: 1911: 1903: 1897: 1888: 1884: 1875: 1866: 1859: 1853: 1847: 1841: 1835: 1824:Henri Gervex 1817: 1799: 1796: 1791: 1785: 1776: 1770: 1768: 1764: 1760: 1757: 1753: 1749:cafe au lait 1748: 1744: 1737: 1728: 1724: 1718: 1705: 1701: 1693: 1685:Moulin Rouge 1683: 1681: 1676: 1672: 1652: 1646: 1642: 1609: 1602: 1588: 1582: 1564: 1560: 1556: 1552:Le Chat Noir 1550: 1546:Moulin rouge 1545: 1537: 1517:Gros n'arbre 1516: 1513: 1508: 1504: 1502: 1487: 1485: 1469:Associations 1460: 1430: 1427:Les Abeilles 1426: 1408: 1404: 1387: 1383: 1365: 1361: 1343: 1339: 1321: 1317: 1299: 1295: 1264: 1255: 1251: 1241: 1235: 1229: 1223: 1217: 1211: 1206: 1200: 1192: 1190: 1181: 1177: 1167: 1163: 1159: 1157: 1152: 1146: 1140: 1134: 1130: 1113: 1097: 1081: 1065: 1050: 1034: 1014: 994: 974: 958: 938: 919:Le Sollicité 918: 898: 882: 863: 847: 827: 807: 783: 759: 735: 712: 692: 676: 656: 640: 639:(1901). Ex. 636: 620: 600: 581: 561: 527: 522: 516: 511: 507: 503: 482: 470:Auguste Clot 463: 457: 441: 402: 384: 346:Henri Gervex 335: 333: 312: 308: 305:Henri Gervex 300: 298: 277: 257: 251: 249: 241: 225: 193: 179: 157: 155: 148: 142: 136: 123: 122: 68:(1929-01-21) 35: 4448:Nabis (art) 4403:1929 deaths 4398:1867 births 4296:Jan Verkade 4276:Paul Ranson 4109:. Bordeaux. 3662:Frey, p.482 3569:Frey, p.410 3304:Frey, p.411 3204:Milhou 1991 2782:Scaramouche 2640:Le Centaure 2638:Collectif, 2479:Kunstverein 2242:Le chasseur 1974:Exhibitions 1945:Le Centaure 1939:The author 1771:Gros n'abre 1758:Dear Lady, 1745:Gros n'abre 1621:Arromanches 1561:Rue Joubert 1214:Paris Opera 1180:poster for 1133:poster for 941:(c. 1905). 866:(c. 1910). 830:(c. 1905). 695:(c. 1901). 659:(c. 1901). 637:La boudeuse 603:(c. 1895). 584:(c. 1895). 530:Durand-Ruel 325:Ramon Casas 164:Paris Opera 82:Nationality 4392:Categories 3809:BnF, p.461 3057:References 2435:Un Croquis 2276:Parisienne 2272:Venitienne 2162:La Justice 1858:, and the 1629:Saint-Malo 1541:Montmartre 1507:(roughly: 1272:Stravinsky 1237:Le Trianon 1068:(c. 1908). 1053:(c. 1907). 1037:(c. 1907). 961:(c. 1905). 939:Et modeste 885:(c. 1905). 342:Montmartre 4372:Lugné-Poe 4310:Paintings 3946:La Presse 3866:Le Figaro 3062:Footnotes 2844:, 1925–27 2745:Le Lutrin 2666:Paul Adam 2463:, Moscow. 2439:La Lettre 2325:L'Arpette 2011:Jacquemin 1732:Goupil's. 1707:Anna Held 1690:La Goulue 1663:Walcheren 1617:Granville 623:(c.1895). 601:Medisants 494:Lugné-Poe 460:Lugné-Poe 429:Delacroix 210:, Paris. 204:Symbolist 195:Les Nabis 106:Symbolism 4367:Intimism 4229:Painters 4085:Gil Blas 2670:Le Trust 2530:Dufrénoy 1832:Carrière 1709:et Baldy 1649:, Paris. 1585:Vuillard 1509:Big Tree 1429:, 1917. 1407:, 1913. 1386:, 1913. 1364:, 1913. 1342:, 1913. 1320:, 1911. 1298:, 1910. 1184:Couperin 977:(1907). 810:(1904). 786:(1904). 762:(1904). 738:(1904). 715:(1903). 643:, Paris. 564:(1896). 417:Anquetin 405:Carrière 344:, under 174:and the 162:and the 98:Movement 76:, France 57:, France 4353:Related 4094:. 1915. 4000:. 1972. 3051:(1912). 3035:(1906). 3019:(1906). 3003:(1906). 2987:(1906). 2971:(1906). 2955:(1906). 2939:(1906). 2916:woodcut 2788:Molière 2452:at the 2417:at the 2393:at the 2347:at the 2303:at the 2238:L'Epave 2061:Roussel 2040:Sommeil 2003:Gauguin 1655:Utrecht 1559:or the 1463:, 1922. 1268:Roussel 1122:Theatre 1116:(1917). 1100:(1914). 1084:(1912). 1017:(1910) 997:(1907). 848:Au café 453:woodcut 448:gouache 128:French: 4345:(1900) 4337:(1898) 4329:(1893) 4321:(1888) 2891:, 1929 2881:, 1929 2871:, 1928 2864:, 1927 2854:, 1927 2834:, 1926 2824:, 1925 2814:, 1924 2804:, 1924 2794:, 1923 2784:, 1922 2774:, 1922 2764:, 1921 2757:, 1921 2747:, 1921 2740:, 1921 2733:, 1920 2723:, 1920 2716:, 1919 2706:, 1919 2696:, 1919 2689:, 1918 2679:, 1912 2672:, 1910 2662:, 1906 2652:, 1899 2257:A Chat 2007:Maufra 1852:, the 1846:, the 1657:, the 1625:Dinard 1605:, Albi 1461:Sylvia 1222:; the 421:Forain 327:, and 170:, the 112:Awards 85:French 4222:Nabis 3321:Jstor 2905:conté 2889:Sapho 2443:Etude 2032:Ibels 1828:Degas 1276:Ravel 444:conté 433:Manet 409:Degas 74:Paris 2379:and 2323:and 1830:and 1623:and 1549:and 1496:and 1274:and 1234:and 1191:The 536:and 521:as " 476:and 431:and 425:Goya 419:and 407:and 352:and 270:and 245:Léry 202:and 63:Died 44:Born 2899:'s 2588:at 2571:at 2553:at 2524:at 462:'s 360:Art 311:on 4394:: 3954:. 3857:. 3748:^ 3637:^ 3562:^ 3319:, 3295:^ 3236:^ 3191:^ 3101:^ 3089:. 3078:^ 2887:, 2877:, 2850:, 2840:, 2830:, 2820:, 2810:, 2800:, 2790:, 2780:, 2770:, 2753:, 2729:, 2712:, 2702:, 2685:, 2668:, 2658:, 2441:, 2437:, 2433:, 2429:, 2425:, 2375:, 2371:, 2367:, 2363:, 2359:, 2355:, 2319:, 2315:, 2311:, 2290:, 2286:, 2282:, 2278:, 2274:, 2270:, 2244:, 2240:, 2160:. 2140:. 2009:, 2005:, 1773:: 1635:. 1619:, 1569:. 1270:, 1254:, 480:. 427:, 415:, 348:, 331:. 323:, 104:, 4214:e 4207:t 4200:v 2470:( 2445:. 2404:( 2383:. 2338:. 2327:. 2294:. 2259:. 2248:. 2127:. 2110:. 1435:. 1413:. 1370:. 1348:. 1326:. 1304:. 1021:. 945:. 925:. 905:. 834:. 794:. 770:. 746:. 699:. 663:. 607:. 568:. 126:(

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