Fin De Sipcle Collection

Madame Poupoule at her Toilet, 1898, (1952). Creator: Henri de Toulouse-Lautrec
Madame Poupoule at her Toilet, 1898, (1952). Woman combing her hair in front of a mirror. Painting in the Musee Toulouse-Lautrec, Albi, France

La Toilette, 1889, (1952). Creator: Henri de Toulouse-Lautrec
La Toilette, 1889, (1952). A red-haired woman seated on the floor, seen from the back. Painting, also known as Rousse, and Redhead (Bathing), in the Musee d Orsay, Paris

The Modiste, 1900, (1952). Creator: Henri de Toulouse-Lautrec
The Modiste, 1900, (1952). Portrait of Parisian milliner Louise Blouet of Enguin. Painting in the Musee Toulouse-Lautrec, Albi, France. From " Henri De Toulouse-Lautrec" by Douglas Cooper

Monsieur Boileau at the Cafe, 1893, (1952). Creator: Henri de Toulouse-Lautrec
Monsieur Boileau at the Cafe, 1893, (1952). Portrait of a man sitting at a table with dominoes, in Paris. The green drink is probably absinthe. Painting in the Cleveland Museum of Art, USA

Maxime Dethomas, 1896, (1952). Creator: Henri de Toulouse-Lautrec
Maxime Dethomas, 1896, (1952). French artist and costume designer Maxime Dethomas (1867-1929) at the Bal de l Opera in Paris. Painting in the National Gallery of Art, Washington DC, USA

A Corner of the Moulin de la Galette, 1892, (1952). Creator: Henri de Toulouse-Lautrec
A Corner of the Moulin de la Galette, 1892, (1952). Scene in a Parisian cafe. Painting in the National Gallery of Art, Washington DC, USA

At the Cafe La Mie, c1891, (1952). Creator: Henri de Toulouse-Lautrec
At the Cafe La Mie, c1891, (1952). Man and woman drinking at a table, based on a staged photograph of Lautrecs friend Maurice Guibert. Painting in the Museum of Fine Arts, Boston, USA

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"Fin de Siècle: A Glimpse into the World of Henri de Toulouse-Lautrec" Step into the vibrant and decadent world of late 19th-century Paris with these captivating artworks by Henri de Toulouse-Lautrec. Known for his keen observations of society, Lautrec's paintings provide a window into the lives of both high society and bohemian culture during this transformative era. In "Madame Poupoule at her Toilet, " we witness an intimate moment as a woman prepares herself for the night ahead. The soft lighting and delicate brushstrokes evoke a sense of anticipation, hinting at the allure that awaits beyond closed doors. "Lautrec's portrayal of La Goulue at the Moulin Rouge captures the energy and excitement that permeated this iconic venue. With her flamboyant costume and dynamic pose, La Goulue becomes a symbol of freedom and self-expression in an era marked by social constraints. "The Modiste" transports us to a bustling hat shop where women gather to find their perfect accessory. Lautrec's attention to detail showcases not only his technical skill but also highlights how fashion played a significant role in defining one's identity during this time. "In a Private Dining Room (At the Rat Mort)" offers us a glimpse into an exclusive gathering, where individuals indulge in lavish meals amidst opulent surroundings. Through Lautrec's masterful use of color and composition, he invites us to partake in their extravagant lifestyle while subtly alluding to its transitory nature. Lautrec also turns his gaze towards men with "Monsieur Boileau at the Cafe. " This portrait captures Monsieur Boileau engrossed in thought, perhaps contemplating life's uncertainties or lost dreams—a poignant reminder that even amidst grandeur, introspection remains universal. With "Rue des Moulins, " Lautrec takes us down dimly lit streets, revealing the hidden corners of Parisian nightlife.