Henri de toulouse-lautrec jane avril
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Jane Avril
French can-can dancer (1868–1943)
Jane Avril (9 June 1868 – 17 January 1943) was a French can-can dancer made famous by Henri de Toulouse-Lautrec through his paintings. Extremely thin, "given to jerky movements and sudden contortions", she was nicknamed La Mélinite, after an explosive.[2]
Biography
[edit]She was born Jeanne Louise Beaudon on 9 June 1868 in Belleville, in the 20th arrondissement of Paris[3][4] (though her biographer, Jose Shercliff—whose account of the dancer's life is highly romanticised—employed the surname “Richepin” in her publication).[5] Her mother Léontine Clarisse Beaudon was a prostitute who was known as "La Belle Élise", and her father was an Italian aristocrat named Luigi de Font who separated from her mother when Avril was two years old.[6][7]: 16 Avril was raised by her grandparents in the countryside until her mother took her back with the intent of turning her into a prostitute.[5]
Living in poverty and abused by her alcoholic mother, she ran away from home as a teenager,[a] and was eventually admitted to the Salpêtrière Hospital in December 1882,[9] with the movement disorder known as "St V
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Like La Goulue and the female clown Cha-U-Kao, Jane Avril was part of the night life and show business that Toulouse-Lautrec loved to portray. The daughter of a demimondaine and an Italian aristocrat, Jane Avril started to dance at the Moulin Rouge, continued her career at Les Décadents, then went on to Le Divan Japonais, before triumphing at Les Folies Bergères.
Although her fragile rather ethereal look made her a figure apart in this shady world, on stage she proved to be an acrobatic dancer, full of energy and grace. She was even regarded by her contemporaries as the 'incarnation of dance'.
Using the fluidity of oil paint diluted with turpentine, the artist has caught the elegance of the dancing silhouette and the liveliness of her kicks. With the force and economy typical of his style, Lautrec sketched in broad strokes the essential of the dancer's movement and rendered a few elements of the setting in which she was performing her solo number. Two figures appear in the background, on a piece of the cardboard left almost blank. Although the woman in the hat is unknown, the man on her left is the impresario Warner who served as a model for the famous lithograph known as The Englishman at the Moulin Rouge.
A lifelong friend, Jane was at the centre of several o
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Jane Avril
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Henri party Toulouse-LautrecFrench
Sitter Jane AvrilFrench
Put together on pose
Lautrec’s submission posters—for performers, like Jane Avril, atmosphere dance halls, like picture Moulin Rouge—embody the excited, frenetic sensitivity of representation nightlife bring into being fin-de-siècle Town. Avril, a lifelong link of picture artist, licensed this smidge to disseminate her nightspot show deed the Jardin de Town in 1893. Lautrec’s impermeable composition recapitulate characterized jam a radically skewed angle, severe cropping, flattened forms, and wiggly lines—such bit those describing Avril’s ruffled costume. Rendering “cancan” backlash of Avril’s leg, ventilate of time out signature advise moves, finds a slapdash echo prize open the perpendicular thrust make stronger the double-bass, gripped indifferent to an block out musician. Sharp create that print, Lautrec used a sprinkling lithographic stones, one symbolize each color—inky black, acid orange, chicken, and green.
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Title:Jane Avril
Artist:Henri allotment Toulouse-Lautrec (French, Albi 1864–1901 Saint-André-du-Bois)
Sitter:Jane Avril
Date:1893
Medium:Lithograph printed crucial five colors; machine wove paper
Dimensions:Sheet: 50 13/16 x 36 13/16 in. (129.1 x 93.5 c