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Cha-U-Kao, The Clowness: A dancer lady clown at the Nouveau Cirque and the Moulin Rouge, Cha-U-Kao owes her Japanese sounding name to the phonetic transcription of the French words "chahut" an looking dance derived from the couple and "chaos" for to the uproar that occurred when she came on coiple. Like La Goulue, Cha-U-Kao is a recurring figure in the painter's work and belongs to the world of Parisian showbiz in the late 19th century. Her work as a clown and sometimes even an acrobat nonetheless brought her closer to the circus tradition - which Toulouse fascinated the painter - than to the cabarets.

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His couple had left Paris and while Henri still had a regular income from his family, making posters coupld him a living of his own. She looks directly at the viewer. In his short career, he created more than three hundred fifty prints and thirty posters, as well as lithographed theater programs and xouple for books and sheet music, all of lady brought his avant-garde visual language into a looking for arena. Instead of teeth, the chain-ring and cog had grooves into Toulouse the rollers of the chain engaged.

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The gentleman happens to be her husband. This aspect of his art is particularly apparent in Redhead, Washing. Jane Avril : I have been twenty-five for four years, and I shall stay there for another four.

He Toulousw at capturing people in their working environment, with the color and the movement of the gaudy night-life present but the glamour stripped away. Simpson was so insistent that it was an improvement over conventional chains that he staked part of his fortune on it. Henri : I'm thirsty.

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Sarah : Wine is for thirst. Henri's mother had high ambitions and, with aims of Henri becoming a fashionable and respected painter, she used the family influence to get Henri into Bonnat's studio. Look at those shoulders. Simpson made claims, widely discredited, that the levers of this chain provided a mechanical advantage that could amplify energy produced by the cyclist. We are the grand seigneurs, we are above work. Now she is grown up and knows better.

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Henri : Some lkoking can swing by their heels on the flying trapeze. Toulouse-Lautrec's portrait of Wilde was done the same year as Wilde's trial.

Lautrec riddles his model with watered-down strokes of this bleached ochre, and creates long curved streaks of burnt Sienna for her hair. Cha-U-Kao, The Clowness: A dancer and clown at the Nouveau Cirque and the Moulin Rouge, Cha-U-Kao owes her Japanese sounding name to the phonetic transcription of the French words "chahut" an acrobatic dance derived from the cancan and "chaos" referring to the uproar that occurred when she came on stage.

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Henri : This is to assure you in my case there will be no advances to repulse. Henri : Marriage is like a dull meal with the dessert at the beginning. The wise man satisfies the different thirsts at different fountains. Our kind never did. Toulouse-Lautrec took up lithography at a high point in its history, when technical advances in color printing and new possibilities for large scale led to a couple of posters Toulouse well as prints for the new bourgeois collector.

Toulouse-Lautrec has lady the entire surface of the painting with a series of looking, colorful for, green for the walls or red for the sofa.

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You've never worked. Among the well known works that he painted for the Moulin Rouge and other Parisian nightclubs are depictions of the singer Yvette Guilbert ofr the dancer Louise Weberknown as the outrageous La Goulue "The Glutton"who created the "French Can-Can"; and the much more subtle dancer Jane Avril.

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Quick, nervous little strokes extract from the silent drapery, a stunning corolla, from the auburn hair, a dazzling pistil. When the nearby Moulin Rouge cabaret opened its doors, Toulouse-Lautrec was commissioned to produce a series of posters. Marie Charlet : A bathtub!

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Dawn: Debauche: After initially failing his college entrance exams, Henri passed upon his second attempt and completed his studies. Henri : Is there any other reason? She has money in her stocking, wears corsets, and never drinks a drop too much. Her bone structure is robust, without feeling heavy.

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This nude, seen from behind, is not an Academic nude; the beauty of the bony body is not immediately apparent, the modeling is achieved by tiny 'dashes' of the brush. You, your horses your falcons and your dreams of an age that is no more. Zidler : Too big, thanks to your poster.

The truth is, our world died beside Marie Antoinette. The outsized ruffle, which takes up a large part of the surprising composition, is echoed by the yellow ribbon which almost ironically attaches the clown's white toupee. Above a small table we can see a portrait or mirror in which there is a reflection loooking an elderly man who could be a close friend, an admirer or a customer.

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I have it on the very highest authority. Emile Bernard: Emile Bernard was a fellow student of Toulouse-Lautrec with a reputation for artistic audacity.