Henri de Toulouse-Lautrec Introduction
Henri de Toulouse-Lautrec was a pioneering graphic designer, painter and illustrator known for his influential, post-impressionist cabaret posters during the 1890s. His distinctive style observed and documented the diverse Parisian nightlife of Montmartre, Paris. Toulouse-Lautrec worked alongside singer and comedian, Aristide Bruant and many more celebrities, producing promotional posters for shows and events.
Aristide Bruant in His Cabaret (Aristide Bruant dans son cabaret). 1893 Cushman, E. (2016)
Moulin Rouge, La Goulue. 1891 Cushman, E. (2016)
German Babylon (Babylone d’Allemagne). 1894 Cushman, E. (2016)
Colour Palette Analysis
Inspired by Japanese prints, Toulouse-Lautrec used organic shapes and a striking, limited colour palette for most of his posters. The juxtaposition of colour created depth and contrast amongst designs with complementary bold outlines. This technique was used to emphasis features and aspects of his subjects and their surroundings, as demonstrated in the second image below.
L’Anglais au Moulin Rouge (Englishman at the Moulin Rouge)1892 Cushman, E. (2016)
Composition and Layout
Toulouse-Lautrec defied conventional laws of perspective, deliberately placing his subjects in an unbalanced composition in relation to surrounding objects and structures. This design approach allowed ample space for typography and intricate visual storytelling throughout his posters. As observed by Birnholz (2023), Toulouse-Lautrec frequently used a technique of concealing subjects’ legs through composition and layout, while some interpreted this as a tribute to the artist’s physical condition, the technique ultimately creates abstract movement throughout his work. Emphasizing the essence of natural motion. This observation can be seen throughout his work, which also contributes to a sensation of close-up focus and intensity.
Typography and Lettering Analysis
Toulouse-Lautrec was innovative in his use of typography in the 1890s and incorporated lettering seamlessly into his posters. Typography and lettering were considered an integral part of the finished product, which would either make or break the overall design. The hand-written style of sans serif and serif lettering observed across Toulouse-Lautrec’s posters feature varied strokes, weights and font sizes. Typography and lettering will be integrated meaningfully throughout the illustrative pages of the final picture book. Experimenting with hand-drawn lettering and typography throughout the development phase will ensure harmonization between the narrative and illustrations.
Henri de Toulouse-Lautrec. Cover for L’Estampe originale. 1893 Cushman, E. (2016)
Henri de Toulouse-Lautrec. Mademoiselle Eglantine’s Troupe (La Troupe de Mademoiselle Églantine). 1896 Cushman, E. (2016)
References
Birnholz, A.C. (2023) Legacy of Henri de Toulouse-Lautrec, Encyclopædia Britannica. Available at: https://www.britannica.com/biography/Henri-de-Toulouse-Lautrec/Legacy (Accessed: 18 October 2023).
Covenantarthistory (2016) Degas and the influence of japonisme, Degas and the Influence of Japonisme. Available at: https://covenantarthistory.blogspot.com/2016/04/degas-and-influence-of-japonisme.html (Accessed: 18 October 2023).
Cushman, E. (2016) Henri de Toulouse-Lautrec | Moma, MoMA. Available at: https://www.moma.org/artists/5910 (Accessed: 09 October 2023).
Suzuki, S. (2014) The Paris of toulouse-lautrec: Prints and posters | moma, The Paris of Toulouse- Lautrec: Prints and Posters. Available at: https://www.moma.org/calendar/exhibitions/1450 (Accessed: 09 October 2023).