1864-1901 French painter and printmaker. He is best known for his portrayals of late 19th-century Parisian life, particularly working-class, cabaret, circus, nightclub and brothel scenes. He was admired then as he is today for his unsentimental evocations of personalities and social mores. While he belonged to no theoretical school, he is sometimes classified as Post-Impressionist. His greatest contemporary impact was his series of 30 posters (1891-1901),   Related Paintings of Henri de toulouse-lautrec :. | At The Salon Rue des Moulins | At the Moulin Rouge, Two Women Waltzing | Pa Moulin Rouge Kadrilj borjar | Young woman at a table | Bed |
Related Artists:
Louis Hayet
French, 1864-1940.French painter and writer. He was largely self-taught and initially earned his living as an itinerant painter-decorator. In 1881 he met Lucien and Camille Pissarro while painting landscapes near Pontoise and through them met Paul Signac in 1885 and Seurat in 1886. After a years military service at Versailles, Hayet moved to Paris in the autumn of 1887. There he began to apply to his paintings Eug?ne Chevreuls theories of colour contrast with which he had become familiar by 1881. A gifted watercolour painter, he also experimented with the ancient technique of wax encaustic, painting on a prepared cotton that allowed light to filter through. The paint surface of works such as The Grange (Beauchamp, France, priv. col., see 1983 Pontoise exh. cat., no. 1) retains a vivid tonal freshness, while the subject of crowds of peasants gathered before the Paris agricultural market reveals a debt to Pissarro. During the second half of the 1880s he became obsessed with the notion of passage
Andrea del Sarto
Italian High Renaissance Painter , 1486-1530 Italian painter and draughtsman. He was the leading painter in Florence in the early years of the 16th century, and, under the influence of Leonardo da Vinci, Fra Bartolommeo, Michelangelo and Raphael, he elaborated and perfected the classical style of the High Renaissance. In the second decade of the 16th century his art anticipated aspects of Mannerism, while his direct, immediate works of the 1520s became important models for the more naturalistic Tuscan artists of the Counter-Reformation. He painted mainly religious works, including both altarpieces and major cycles of frescoes. His portraits, distinguished by a dreamily poetic quality,
Gioacchino Toma
Italian , Galatina 1836 - Napoli 1891 Italian painter. He was orphaned at the age of six and spent an unhappy childhood and adolescence in convents and poorhouses; these experiences would later provide subjects for his paintings. He was first taught drawing at the art school in the hospice for the poor in the Adriatic town of Giovinazzo, but in 1855 he moved to Naples, where he worked for an ornamental painter named Alessandro Fergola. In 1857 he was mistakenly arrested for conspiracy and exiled to Piedimonte d'Alife, 60 km from Naples, where he was initiated into the secret society of the Carbonari by some local liberal aristocrats who also became his first patrons. His paintings for them were mainly still-lifes, largely in the traditional Neapolitan style. On his return to Naples in 1858 he became a student at the Accademia di Belle Arti, attending the classes of Domenico Morelli, who influenced such early works as Erminia (1859; Naples, Pal. Reale). Toma fought for two years with Garibaldi in the campaign for the unification of Italy, then returned to painting,