By giving too much weight to the context and folklore of the Moulin-Rouge, we have lost sight of the aesthetic, poetic ambition which Lautrec invested in what he learned, in turn, from Princeteau, Bonnat and Cormon. As evidenced by his correspondence, Manet, Degas and Forain allowed him, from the mid- 1880s, to transform his powerful naturalism into a more incisive and caustic style.
Encouraged by his photographic passion and the success of Degas, electrified by the world of modern dancers and inventions, Lautrec never ceased to reformulate the space-time of the image.
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