- Ajuntament de Barcelona
- Institut de Cultura de Barcelona
Toulouse-Lautrec and Montmartre / Richard Thomson, Philip Dennis Cate, Mary Weaver Chapin
Material type: TextLanguage: Anglès Publication details: Princeton : Princeton University Press : National Gallery of Art (Washington) 2005 Description: 293 p. : il. col. ; 30 cmISBN: 9780691129044Subject(s): Toulouse-Lautrec, Henri de, 1864-1901 | Fuller, Loïe, 1862-1928 | Guilbert, Yvette, 1865-1944 | Avril, Jane, 1868-1943 | 2005 | Art Institute (Chicago) | Cabarets | Chat Noir (París) | Circ | Exposicions | Història | Montmartre | National Gallery of Art (Washington) | París | 2005 | Art Institute (Chicago) | Cabarets | Chat Noir (París) | Circo | Exposiciones | Fuller, Loïe (1862-1928) | Guilbert, Yvette (1867-1944) | Historia | Jane Avril (nombre artístico de Jeanne Beaudon, 1868-1943) | Montmartre | National Gallery of Art (Washington) | París | Toulouse-Lautrec, Henri Marie de (1864-1901)Online resources: 22/07/2009 Summary: The art of Henri de Toulouse-Lautrec (18641901) is inseparable from Montmartre (view a map of Paris), the working-class district on the outskirts of Paris where the artist lived for most of his career. In the late nineteenth century, Montmartre became the heart of a daring, often racy, entertainment industry that lured thrill-seeking Parisians to its dance halls and cabarets, circuses and brothels. The district was electrified by the unusual mix of people drawn to the quarter: working-class laborers enticed by the inexpensive housing, performers seeking fame and fortune, adventurous Parisians who strayed from the more bourgeois city center, and curious tourists. Cheap rents, along with the licentious culture, also attracted young, avant-garde artists, who reveled in Montmartres pleasures. For these artists, the raucous spirit of Montmartreits unbridled energy, tawdry behavior, garish colors, and provocative celebritieswas both a way to live and a subject to depict. an identity distinct from central Paris. Its rural roots were evident at the end of the century, when working windmills still dotted the landscape. Narrow, winding, and haphazard streets also contrasted Montmartre with central Paris, where Baron Haussmanns urban modernization plan had created a coherent design with broad avenues and uniform street lamps. Considered a semirural, working-class area, which was not incorporated into the city limits until 1860, Montmartre was unaffected by Haussmanns urban renewal and consequently retained its character. Montmartres separation from central Parisgeographically, demographically, historically, and architecturallyset the stage for the decadent fringe culture that arose in the district on the butte.Item type | Current library | Call number | Status | Date due | Barcode |
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Monografia | Biblioteca Museu Picasso | 75 (Tou) Tho (Browse shelf(Opens below)) | Available | 2009-176 |
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75 (Tou) Adr Toulouse-Lautrec | 75 (Tou) Adr Toulouse-Lautrec | 75 (Tou) Di C Toulouse-Lautrec, un artista moderno nella Belle Epoque | 75 (Tou) Tho Toulouse-Lautrec and Montmartre / | 75 (Tur) Cla Turner et les Alpes 1802 | 75 (Vaa) Val Joaquín Vaamonde | 75 (Val) Boz Manolo Valdés : |
The art of Henri de Toulouse-Lautrec (18641901) is inseparable from Montmartre (view a map of Paris), the working-class district on the outskirts of Paris where the artist lived for most of his career. In the late nineteenth century, Montmartre became the heart of a daring, often racy, entertainment industry that lured thrill-seeking Parisians to its dance halls and cabarets, circuses and brothels. The district was electrified by the unusual mix of people drawn to the quarter: working-class laborers enticed by the inexpensive housing, performers seeking fame and fortune, adventurous Parisians who strayed from the more bourgeois city center, and curious tourists. Cheap rents, along with the licentious culture, also attracted young, avant-garde artists, who reveled in Montmartres pleasures. For these artists, the raucous spirit of Montmartreits unbridled energy, tawdry behavior, garish colors, and provocative celebritieswas both a way to live and a subject to depict. an identity distinct from central Paris. Its rural roots were evident at the end of the century, when working windmills still dotted the landscape. Narrow, winding, and haphazard streets also contrasted Montmartre with central Paris, where Baron Haussmanns urban modernization plan had created a coherent design with broad avenues and uniform street lamps. Considered a semirural, working-class area, which was not incorporated into the city limits until 1860, Montmartre was unaffected by Haussmanns urban renewal and consequently retained its character. Montmartres separation from central Parisgeographically, demographically, historically, and architecturallyset the stage for the decadent fringe culture that arose in the district on the butte.
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