February 2013

Arts & Letters


By Patrick Hartigan
National Gallery of Australia

Many years ago, on night-time walks down my street in inner-city Sydney, I used to see prostitutes through the open door of a terrace house: starkly lit women in their 50s and 60s, sitting around in lingerie amid the thick warm city air. Back home, propped on my windowsill, a postcard of a smudgy Toulouse-Lautrec monoprint talked to those glimpses of depravity with a fondness that has kept both brothel and postcard strikingly alive in my mind.

The details of Henri de Toulouse-Lautrec’s short but significant career could easily be mistaken for the imagined realm of another artist: the drunken, aristocratic dwarf – a congenital condition almost certainly caused by the incestuous relationship of his first-cousin parents – devotedly rendering the underbelly of fin-de-siècle Paris. With a body ravaged by both disease and alcoholism, this robust painter and pioneering printmaker was dead by 37. Yet the scenes left behind by him probably account for a significant portion of our culture’s image of Paris; for every poster he created then, there are likely many millions of fridge magnets now.

Toulouse-Lautrec: Paris and the Moulin Rouge at the National Gallery of Australia – the first major exhibition of his work to be held in Australia – brings together an impressive selection of paintings, drawings, posters and prints. It is a fine opportunity to experience the scope of Toulouse-Lautrec’s work, from the able if academic early paintings to the tenderly observed and feathered ‘backstage’ brothel scenes (where he felt so at home that he lunched with the ladies) to the bold and vibrant graphics that ultimately elevated the poster into the realms of art, and, finally, several of his wonderfully rich late paintings.

The modestly scaled and executed brothel scenes are exceptional for their frank detail, terrific draughtsmanship and ability to navigate the tense space between a sketch and a painting. They show the women in uncompromisingly close, anything but clichéd, terms: eating, sleeping, washing or combing their hair; or, more brutally, in ‘Alone’ (1896) for example, as mere flesh expended among rumpled sheets.

On exiting the quietly empathised desperation of the brothel, you are confronted with what Thadée Natanson – the editor of the avant-garde journal La Revue blanche – referred to as the “fist in the face” impact of Toulouse-Lautrec’s first and largest poster of La Goulue (the glutton), a famous can-can dancer known as “the Queen of Montmartre”. Here we see Toulouse-Lautrec’s interest in Japanese woodblock printing married with an enthusiastic disregard for the conventions of pictorial composition; you come upon these dynamic compositions – with their hurling, heavily rouged, skirt-lifting characters – as if a metre from a stage. For in Toulouse-Lautrec’s world, tableau and stage are one and the same; the boundary between performer and spectator of little relevance to an artist so intoxicated by the simultaneous delights of both.

Patrick Hartigan
Patrick Hartigan is a Sydney-based artist.

Toulouse-Lautrec, National Gallery of Australia, Until 2 April 2013
Cover: February 2013

February 2013

From the front page

Coalition comedy hour

The PM’s “victory” on energy didn’t last a week

Image of Peter Temple

Remembering Peter Temple

The acclaimed Australian crime writer had a deep appreciation for the folly of things

The death doula

Annie Whitlocke is helping to break the silence around grief and dying

Alt right on the night

One of the extreme right’s greatest harms may turn out to be opportunity cost

In This Issue

Words: Shane Maloney | Illustration: Chris Grosz

Australia II and Liberty

Students sitting a selective school entrance exam. © Peter Rae / Fairfax Syndication

The secret life of them

What it takes to shift class in Australia

David Walsh. © Matthew Newton / Newspix

The gambler

At home with David Walsh

‘Inheritance’ by Balli Kaur Jaswal, Sleepers Publishing; $24.95

‘Inheritance’ by Balli Kaur Jaswal

More in Arts & Letters

Covers of Motherhood and Mothers

To have or not to have: Sheila Heti’s ‘Motherhood’ and Jacqueline Rose’s ‘Mothers’

Heti’s novel asks if a woman should have a child; Rose’s nonfiction considers how society treats her if she does

Image of Beyoncé and Jay-Z

The disappointment of The Carters’ ‘Everything Is Love’ and Kanye West’s ‘Ye’

New albums from Beyoncé and Jay-Z and Kanye West bare all yet share nothing

Image of Mike Parr, Underneath the Bitumen the Artist

Mike Parr’s invisible performance and Tasmania’s complex past

Underneath the bitumen in Hobart, history becomes art

Image of Ronan Farrow

The end of American diplomacy: Ronan Farrow’s ‘War on Peace’

The Pulitzer Prize winner explains how the State Department’s problems started long before Trump

More in Noted

‘Less’ by Andrew Sean Greer

The Pulitzer Prize–winning novel is an engaging story of love and literary misadventure

Hannah Gadsby: ‘Nanette’

Believe the hype about the Tasmanian comedian’s Netflix special

Cover of The Lebs

‘The Lebs’ by Michael Mohammed Ahmad

A fresh perspective on Muslim youth in Sydney’s west

Cover of A Sand Archive

‘A Sand Archive’ by Gregory Day

Day grasps landscape as an intimate living thing

Read on

Image of Peter Temple

Remembering Peter Temple

The acclaimed Australian crime writer had a deep appreciation for the folly of things

Image from BADFAITH Collective’s ‘Exquisite Corpse’

‘Exquisite Corpse’: reinventing a parlour game in immersive VR

BADFAITH Collective build a Surrealist body at the Melbourne International Film Festival

Image of Peter Dutton

Peter Dutton’s leadership ambitions

A reminder of why the minister’s recent dog-whistling should be of concern

Image from ‘Sharp Objects’

‘Sharp Objects’ blurs the edges

The cruel complexities of women’s lives propel this Amy Adams-led thriller