Gustav Klimt

Gustav Klimt was born in Austria , near to Vienna to the very poor family where he grew up with his two brothers and four sisters and went to the Vienna school of Arts and Crafts. His father came from Limtomerice city which is pretty close to Prague and he worked with gold and wanted his sons to take over his job. Gustav Klimt and his brothers had artistic talent already in the childhood and that turned out in the adulthood. Gustav Klimt is most known as a portraitist , ornamental designer , and painter. Klimt died also in Vienna in 1918

Why is he still more known artist then others ?

Who inspired him ?

What makes his art special ?

 During the research I found out that Gustav Klimt is very popular artist not just in the middle Europe but even in the United states of America or the United Kingdom orJapan and of course in other countries , which I didn't know , and he is still remembered by older and even younger people and also remembered as a very successful man who didn't even grew up in artistic environment .

I think what makes him special is fact that he didn't work with same technique , colors or concept , his palette range of these things is much bigger. If we check his work we will see many different styles like portraits of women , we can also find some abstract paintings , landscape or ornamental paintings , scene from the nature ect. Everything is done with different techniques and colors and even size , so I think that the reason why he has still lot of fans and why he is still famous artist , because you can choose or decide what you like and what you don't like , what I mean is that he basically gives you variety. In terms of landscape , nature his style is close to impressionist style which was working with short brush lines and in some parts of those nature scenes that looks like pointillism for me , but for instance portraits he has done are made in totally different drawing technique by using mainly black lines to make a profile of the character which he not often used in nature scenes. Also in terms of scene from the nature he keeps it in order by adding no abstract features , but in terms of portraitist he uses abstract features all over the painting , specially for women clothes or background which “like I said” doesn't happen in nature scenes. So I would say that in some way he was inspired by the impressionism by my opinion and some way he built his own style which is always worth it because people are hungry to see some new style or at least features in the art .

I definitely like his work he left for us , I think he will be remembered in the far future.

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 Gustav Klimt  (1907) Portrait of Adele Bloch-Bauer I [Online]. Available at:   ( http://www.cosmopolis.ch/klimt3.jpg (Accessed: 22 MArch 2011).

 Gustav Klimt  (1895) Liebe [Online]. Available at:   ( http://www.cosmopolis.ch/klimt2.jpg (Accessed: 22 MArch 2011).


 





Gustav Klimt  (1901) Judith I [Online]. Available at:   ( http://www.cosmopolis.ch/klimt1.jpg (Accessed: 22 MArch 2011).

  


Gustav Klimt  (1902) The Beethoven Frieze [Online]. Available at:   ( http://www.ibiblio.org/wm/paint/auth/klimt/klimt.beethoven-frieze2.jpg (Accessed: 22 MArch 2011).

Gustav Klimt  (1884) Idylle [Online]. Available at:   ( http://www.ibiblio.org/wm/paint/auth/klimt/idylle.jpg (Accessed: 22 MArch 2011).

 ameliavavalli ( 2010 ) GUSTAV KLIMT , Available at : http://www.youtube.com/watch?v=xCnt8Ybd81o  ( Accessed : 23 May 2011 ) 
  
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Klimt was born to a poor family – his father was a migrant from Bohemia, who worked as an engraver. When a teenager, Klimt enrolled at the Vienna School of Arts and Crafts, where he continued studying until the age of 21.

Klimt joined forces with his brother Ernst and a fellow student to form a small interiors painting concern. Together they made a successful team, creating impressive murals in large public buildings.

But in 1892, Klimt lost both his brother and father. He began to spend less time on large interior decorative works, instead turning to the creation of works on canvas. Many of his paintings celebrate the female form, containing a blend of eroticism and nudity.

His personal life echoed the thoughts portrayed in his art – he had a long time companion in Emile Flöge, but she acted as the only rock in a stormy sea of prosmicuity – he fathered over a dozen children to an assortment of women.

In 1897 Klimt and a number of fellow artists ‘seceded’ from Vienna’s art establishment, founding the Vienna Sezession group. In 1902 the Sezession mounted an exhibition honoring Ludwig van Beethoven – Klimt's contribution was a series of spectacular murals now known as the Beethoven Frieze.

During the late 1890s and early 1900s, Klimt produced a series of mixed-media canvases, incorporating gold-leaf and silver foil into the painting. This is commonly called his ‘Golden Period’. Famous works include the Stoclet Frieze, a series of murals on the dining room walls of the Stocklet Palace in Brussels. Canvases include Judith I, Portrait of Adele Bloch-Bauer I, and The Kiss. Paintings from Klimt’s Golden Phase are so iconic, and sort after, that today they fetch amazing prices when they are (rarely) auctioned. Tens of millions of dollars is typical.

Later in his life, Klimt returned to painting in pure oils. He died in 1918 in Vienna, the result of a stroke. The world had lost one of its best artist

http://www.100besteverything.com/best-artists/GustavKlimt.html

By then he had become the most famous portraitist for the wealthy Viennese society, creating icons of beautiful women in which ornamental design and pure elegance dominated. His landscapes have the same jewel-like quality, emphasizing the full bloom of summer. His drawings, primarily of female nudes, are extraordinary in their sensitive realism and their strong eroticism. In 1907 he painted what is probably his most famous work, "The Kiss" (Austrian Gallery in Vienna), and in 1908 he completed the Stoclet-frieze; the palace for which the "Wiener Werkstaetten" designed the furniture is one of the famous attempts to create a Gesamtkunstwerk, a complete work of art, in which all the parts blend into a true unit.

By this time Klimt had become one of Europe's famous artists, with successful exhibits in Rome, Brussels, London, and Madrid. He was made an honorary member of the Academy of Munich, and when again he was not appointed professor the Vienna Academy elected him an honorary member. But the controversy in Vienna did not end: the famous architect Adolph Loos wrote his important article "Ornament and Crime" against the aesthetic refinement of the everyday; the editor of the influential journal Die Fackel, Karl Kraus, attacked Klimt's and the Wiener Werkstaetten's refined aestheticism; and Emil Klaeger published a graphic account of the misery, poverty, and rampant crime in the poorer districts of Vienna. The concept of the Stilkunst which had so strongly influenced Vienna's arts and life was under attack when Klimt died in 1918 in Vienna.

1862 Born on 14th July in Baumgarten near Vienna (today a part of Vienna’s 14th district, Linzer 1879 Worked at the pageant of Hans Makart in honour of the imperial couple’s silver wedding.1883 Establishment of the "Künstlerkompanie" (Artists’ Company): Gustav Klimt and his brother Ernst, as well as Franz Matsch, shared a studio on Sandwirtgasse 8, 6th district, Vienna. 1883-85 Works by the Artists’ Company for the Town Theater in Fiume (Croatia) and Karlsbad (Bohemia), as well as for the Bucharest National Theater (Romania). 1886-91 Works by the Artists’ Company on the frescos of the staircases of the Vienna Burgtheater and on the frescos of the staircases in the Vienna Art History Museum.1892 Death of beloved brother Ernst and his father. In the same year moved to his studio in Josefstädterstrasse 21, 8th district, Vienna.1894 Commissioned to paint the faculty paintings for the University of Vienna together with Franz Matsch. Beginning of artistic estrangement between Klimt and Matsch. 1897-99 President of the Wiener Secession.

Strasse 247).1876-83 Attended the School of Applied Arts of the Austrian Museum for Art and Industry.

http://www.austria.info/uk/about-austria/klimt-gustav-1862-1918-1135601.html

Gustav Klimt's style is highly ornamental. The Art Nouveau movement favored organic lines and contours. Klimt used a lot of gold and silver colors in his art work - certainly an heritage from his father's profession as a gold and silver engraver.

Klimt's works of art were a scandal at his time because of the display of nudity and the subtle sexuality and eroticism. His best know painting The Kiss, was first exhibited in 1908. As everything coming out of Klimt's hands, it was highly controversial and admired at the same time.

The artist created few paintings on traditional canvas. He saw himself more as a mural painter and decorative artist. He designed posters and worked as an illustrator for magazines - best known Ver Sacrum (The Rite of Spring). Ver Sacrum was more than a magazine. It was a building where artists could exhibit their works and publish their ideas in the magazine. Ver Sacrum was published from 1898 to 1903.

From 1900 to 1903 Gustav Klimt worked on commissions by the Vienna University for a series of ceiling murals. For his mural works Klimt used a wide variety of media - metal, glass and ceramics.

The Austrian Emperor Franz Joseph II disliked Klimt's art work and the Secessionists deeply. His drivers had orders not to pass any buildings showing Secessionist art.

In 1905 Gustav Klimt left the Vienna Secession after quarrels and disagreements with another member, Josef Hofmann. Klimt continued his path. He went into design works for fashion and jewelry. His understanding of art as something that should not be confined to art academies, studios and canvases was similar to Alphonse Mucha's activities. The very idea itself was again revitalized with the Pop Art Movement in the sixties and seventies.

http://www.artelino.com/articles/gustav_klimt.asp

The Secession, formed in 1897, aimed to bring Austrian art closer to the international art scene. Klimt was the leading figure of the Secession until 1905 when he resigned from the Art Nouveau artists' society. The Habsburg administration did not fight the new ideas, on the contrary, they embraced the avant-garde, commissioned works from them and offered posts to Secession artists. This was part of an effort by the Habsburg administration to modernize state, economy and society. The foundation of the Modern Gallery in 1903 as a museum for Austrian art since 1850 belongs in this context. In 1912, it got its current name: Österreichische Staatsgalerie. With the end of the monarchy, the museum's problem's were resolved by enlarging the exhibition space at the Upper and Lower Belvedere. In the year 1900, the Ministry of Education bought Klimt's Nach dem Regen, in 1901 Am Attersee II, in 1912 Bauernhaus and in 1915 twelve figurative sketches.

http://www.cosmopolis.ch/english/cosmo11/klimt.htm

Gustav Klimt was born on July 14, 1862, the son of an Austrian jeweler. From the age of fourteen to twenty he studied at the School of Plastic Art in Vienna. From the age of eighteen he, his brother Ernst and Franz Matsch undertook commissions for decorative works.

In 1897 he became the first President of the Vienna Secession. Influenced first by Makart, he turned away from him after a trip to Vienna where he discovered Byzantine mosaics. In 1912, he withdrew from the

http://www.askart.com/askart/artists/biography.aspx?artist=9000061

William De Morgan

William De Morgan was born in the United Kingdom of the 19^th century , he was one of the most known english ceramic, potter and also tile designer artist. He was a very close associate of the Pre-Raphaelite luminaries William Morris and Edward Burne-Jones, his style was unique. His father, Augustus De Morgan was the first Professor of Mathematics at the newly founded University College London and his motherSofia Elizabeth Frend, campaigned alongside Elizabeth Fry in the early 19th century to promote prison reform and held strong views on religious liberty and women's suffrage. *********************************************************************************  

Was his style really unique ?

( During the end of the 19^th century there was a rise in “orientalism” spreading throughout europe. he borrowed from many persian and asian styles and incorporated them into his designs )

Who influenced him ?

Who influenced him ?

My opinion, conclusion ********************************************

Was his style really unique as some resources say , I put down this question because during the research I found similar looking pottery design techniques which were used in earlier ages , specially in asian countries . If you going to compere his pottery , ceramic works and for example chinese pottery and ceramic design from earlier age you can see similar features like using plenty of colors , flower patterns which cover whole product they work on , mythological animals who are many times placed all over the product in different motion or angle and also scenes from normal life.

At his beginning of his career he worked with lot of people and one of them was William Morris who , I would say , helped him to create his own personal style of technique. I checked some works of William Morris I found out that he might inspire Morgan in terms of using large-scale of colors and flower patterns all over .

I have to admit that I like his work and technique he used and what I find very interesting is fact that lot of time had to be spent and precise work had to be done to make final nice looking product , but what seems to me weird about his works is that some resources say his style was unique , but my opinion is that his style was not unique at all , I think he did not even come up with some revolutionary or innovating idea of designing pottery , ceramics . I do not want to say that he just checked persian and asian techniques and copied them but he for sure was inspired by them and he borrowed some features and techniques.

I do not want to speak about him just in negative way , like he did not come up with something new or he was not unique , so I think If they talk about unique style they mean he was definitely unique in Europe or at least in the United Kingdom back in days .

 

 1) William De Morgan (1839—1917) Two-handled Vase [Online]. Available at:   ( http://www.victorianweb.org/art/design/demorgan/3.jpg ) (Accessed: 8 March 2011).  

2) William De Morgan (1839—1917) Vase with cover [Online]. Available at:   ( http://www.metmuseum.org/toah/images/h2/h2_23.163.2ab.jpg/ (Accessed: 8 March 2011).

   3) William De Morgan (1839—1917) Bottle-shaped Vase [Online]. Available at:   ( http://www.victorianweb.org/art/design/demorgan/2.jpg (Accessed: 8 March 2011).     4) William De Morgan (1839—1917) Dish [Online]. Available at:   (http://www.victorianweb.org/art/design/demorgan/1.jpg (Accessed: 8 March 2011).         5) William De Morgan (1839—1917) Changer [Online]. Available at:    (http://www.victorianweb.org/art/design/demorgan/9.jpg (Accessed: 8 March 2011). 

Classed as one of the most important pioneers of the Arts & Crafts movement, William De Morgan was a prolific potter, inventor, novelist and designer. His achievements in the world of design varied from stained glass to furniture painting, but he is probably most celebrated for the glorious Persian, Iznik, and figurial designs which he recreated onto tiles and ceramics. Instrumental in the revival of handicrafts and high decoration, today his work commands hundreds and thousands at auction making William De Morgan one of the most influential and talented designers of the 19th Century.

http://www.worldcollectorsnet.com/magazine/issue42/iss42p2.html

De Morgan designed stained glass, ceramic tiles and painted furniture for The Firm between 1863-1872. He wanted, however, more control over the finishing of his work and so built a kiln in the basement of his home at Fitzroy Square, London.

Here he used his knowledge of chemistry and his gift as an inventor to work on different lustres and glazes. Unfortunately, his enthusiasm for experimentation led to a fire which destroyed the roof, about which "the landlord did not seem at all amiable". De Morgan moved to Chelsea and expanded his business to include a showroom and several painters. His fame was spreading and in 1879 he received a commission to supply Lord Leighton with tiles to match the deep blue Islamic tiles used in the Arab Hall at Leighton House.

http://www.bethrussellneedlepoint.com/demorgan.htm

His father, Augustus De Morgan (1806-1871), held the first chair of mathematics at University College, London and introduced the abstract approach to algebra.

His mother, Sophia Frend (1809-1892), was a pioneering spiritualist as well as being a campaigner for women’s rights and prison reform.

In 1859 William De Morgan began studies at the Royal Academy, but was not destined to become a painter or sculptor.

In 1863, he started experimenting with techniques to create stained glass and decorated tiles. Contrary to what is commonly assumed, De Morgan never became a partner in William Morris’s Firm, but Morris did market De Morgan’s products and used them in his decorative schemes.

http://www.antique-marks.com/william-de-morgan.html

William De Morgan was the most important ceramic artist of the Arts and Crafts Movement. He was born on 16 November 1839 into an intellectual family of French Hugenot descent. William's father, Augustus De Morgan was the first Professor of Mathematics at the newly founded University College London and he is an important figure in the history of the subject. His mother, Sofia Elizabeth Frend, campaigned alongside Elizabeth Fry in the early 19th century to promote prison reform and held strong views on religious liberty and women's suffrage.

In 1859 De Morgan was admitted to the Royal Academy Schools and studied alongside Frederick Walker and Simeon Solomon, who remarked on this "entirely uncommonplace young man; tall, thin, high forehead, aquiline nose and high squeaky voice" - which earned him the nickname "Mouse". Henry Holiday was also in his circle and introduced De Morgan to William Morris. Two years later De Morgan turned his attention to the decorative arts and began his experimentation with stained glass.

In 1863 De Morgan had his first real career break when he met William Morris and the painter Edward Burne Jones. As Morris had not been very successful with ceramics, De Morgan took over the tile production side of the business and soon began designing his own tiles. He collaborated with William Morris for many years.

By 1900 his designs were two generations old and considered a little old fashioned. De Morgan, alongside his partner, the architect Halsey Ricardo, continued work until 1907 but with dwindling success and ill health, he spent much of the year in Florence, Italy with his wife. His work, although highly prized by the avant garde of the day, had never provided a large income for De Morgan. His greatest success was as a novelist. He only began writing when he was 65 but his best-sellers ensured a financially secure old age for him and his wife.

There were many other sides to De Morgan's talents; he designed and made pottery kilns and equipment; sketched ideas for grinding mills and sieves to be used in his workshops; was a knowledgeable chemist; worked on a new gearing system for bicycles; developed telegraph codes and evolved his own system of accounts. He even wrote to the Admiralty during the First World War with his suggestions of how they might destroy U-boats. However, his lasting legacy is his ceramics and the De Morgan Foundation is fortunate in owning a large collection of the finest examples of his work.

http://www.demorgan.org.uk/de-morgans/william-de-morgan

Henri de Toulouse-Lautrec

Henri de Toulouse-Lautrec

 - In this essay I will look at Lautrec's posters .

 - How is Lautrec different than other impressionists working at the same time?…Monet

 - How is his work similar?
 

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Henri de Toulouse-Lautrec was french painter, desinger who was born in 19th century in town named Albi, France but most of the childhood he spent at the Château du Bosc which was the place his family owned near to his hometown Albi. Henris talent appeared at young age nearly about ten years old when he started sketching but also at his young age he broke both of his legs and that time he spopped to grow and that was his biggiest life problem. After years he moved to Paris where he started his art career. 

 Everything what starts from the beginning is always small , tiny and also simple and that applies for innovating artists like Henri de Toulouse Lautrec was with his brilliant idea of making, designing posters. He was first of his kind and I would say first graphic designer by that time who started to use printing technology and poster advertisement. Like I said he was first of the kind in that area and his works might look like that for us people in 21th century .  In his work you can see how simply he designed those posters by using thick lines and big one-colored areas with basically no shading. I checked lot of his works and I found that he I would say he liked to play with black and yellow color plus sometimes not even using color at all , perhaps it was good idea of using those colors to get your attention from close of far distance , because I thing he knew that yellow color was visible. During the research I found that he designed fonts he were using in his posters and other stuff by hand some of them may look like done by the hand but also some of them look like he used some copied print font technology.
Compering him and other impressionist artists I think there was not big difference between them in terms of painting technology. They used same technology which were longer brush strokes. I would say than distinction was the concept of the painting. `most of impressionist artist like Monet painted for example nature of their country side and what and many times same picture from nature in different time like night,say,morning,sunset ect…but Lautrec didn't do that at all. He was focusing on portrait still or with action, always with some character that is the main distinction between him and other impressionists.
I like old school and his works surely are old school talking about the posters. Back in the days when he lived it was big boom for everybody , he laid down the rules which are used today , after one hundred years later. Like I said at the beginning in 19th century it seemed very modern but nowadays it would not fill demands of the present audience.

 References:

Johnson, E., Whitten, C. (2003) Biography of Henri de Toulouse-Lautrec. Available at: http://www.lautrec.info/biography.html (Accessed: 1 March 2011).

Columbia University Press. (2001)Henri de Toulouse-Lautrec. Available at: http://www.globalgallery.com/artist_biography/henri+toulouse-lautrec/ (Accessed: 1 March 2011).

Renoir Fine Art Investments Inc. (1998-2008) Henri de Toulouse-Lautrec. Available at: http://www.renoirinc.com/biography/artists/lautrec.htm (Accessed: 1 March 2011).

 

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Lautrec, H. (1892) Two Women Waltzing [Online]. Available at:   ( http://www.ibiblio.org/wm/paint/auth/toulouse-lautrec/ (Accessed: 1 MArch 2011).










Lautrec, H. (1892) Ambassadeurs [Online]. Available at:   ( http://www.ibiblio.org/wm/paint/auth/toulouse-lautrec/i/ambassadeurs.jpg (Accessed: 1 MArch 2011).











Lautrec, H. (1886-87) Rosa La Rouge - À Montrouge [Online]. Available at: ( http://www.ibiblio.org/wm/paint/auth/toulouse-lautrec/i/montrouge.jpg ) (Accessed: 1 MArch 2011).




Lautrec, H. (1891) Moulin Rouge [Online]. Available at: ( http://lh5.ggpht.com/_ZruT4rVUP-4/SfhU2yZNiOI/AAAAAAAAAjY/6p6be5C7oFM/toulouse-lautrec_-_moulin_rouge_-_la_goulue.jpg ) (Accessed: 1 MArch 2011).












Lautrec, H. (1894)Yvette Guilbert Greeting the Audience [Online]. Available at: ( http://www.ibiblio.org/wm/paint/auth/toulouse-lautrec/i/yvette-guilbert.jpg ) (Accessed: 1 MArch 2011).




Lutrec Research:
- french
- graphic,painter,desinger
- Paris
- posters
- hard life
- absint,own coctails
- broken legs
- El Greco, Velasques
- cycles ( cirkus )
- Moulin Rouge
- own style


Henri de Toulouse-Lautrec was born into an aristocratic family in the south of France in 1864. His father, Count Alphonse, was a notorious eccentric known for all kinds of unpredictable behavior: from washing his socks in the river (unheard of for an aristocrat!) to galloping off to a hunt wearing outlandish costumes, to simply disappearing for long stretches of time. The young Henri never became very close to him.
Unknown at the time, Henri suffered from a genetic condition that prevented his bones from healing properly. Fatefully, at age twelve, he broke his left leg. And at age fourteen, he broke his right leg. Both legs ceased to grow, while the rest of his body continued to grow normally.
At maturity, Lautrec was 4 1/2 feet tall. But his great misfortune was a sort of blessing in disguise, at least from our perspective. After his accidents he was no longer able to follow his father in the typically aristocratic pastimes of riding and hunting. Instead, he focused on sketching and painting.

http://www.lautrec.info/biography.html

Count Henri de Toulouse-Lautrec was born in Albi in one of the castles of his ancestors, the Counts of Toulouse. He was a delicate child, but led a normal life until he was fourteen. Then, in minor accidents, he broke first one thigh bone and then the other. Since he had shown talent in drawing as a very young child, his parents encouraged him to take lessons with various teachers in Paris.

http://www.dropbears.com/a/art/biography/Henri_de_Toulouse_Lautrec.html

As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort and several others.

http://www.yaneff.com/html/artists/lautrec.html

Virtually all posterists, then and since, have had to make their stance somewhere between these two poles. True, some may have tried a satirical bite more vicious than Toulouse-Lautrec's, or a neutrality even more profound than Cheret's, but none could surpass the sheer mastery of the pioneers. The best proof is that a century later, their work still sparkles with all its force, inventiveness and beauty, and each in his way is more popular than they ever were in their own lifetimes.
However, the years of night life and excessive intake of absinthe began to take their toll, and his physical condition became very fragile. He had to be taken through the Paris World's Fair of 1900 in a wheel-chair, and the following year he died in his country home.His legacy in poster art continues to astound us. Despite the smallness of his output (Cheret created almost 1000 posters) as compared to the rest of his artistic oeuvre, Toulouse-Lautrec proved himself a true genius of the poster, and his position in the poster pantheon has never been seriously challenged

http://www.yaneff.com/html/artists/lautrec.html

Lautrec's lifestyle could not be sustained. In 1899 he entered what we would today call a detox clinic.In September, 1901 — just over one hundred years ago — he passed away at the age of 36.As he lay dying, his mother and a few friends sat at his side. When his father, the rarely-seen Count Alphonse showed up, everyone was astonished — except Henri. He said, "Good Papa. I knew you wouldn't miss the kill."During Henri's last hours, Count Alphonse behaved as strangely as ever. The count suggesting that they cut off Henri's beard in accordance with certain Arabic customs that he'd heard of, and that they use Henri's shoelaces to flick at noisy flies. Henri's last words were addressed to his father: "Old fool."

http://www.lautrec.info/biography.html

Toulouse-Lautrec sought to capture the effect of the movement of the figure through wholly original means. For example, his contemporary Edgar Degas (whose works, along with Japanese prints, were a principal influence on him) expressed movement by carefully rendering the anatomical structure of several closely grouped figures, attempting in this way to depict but one figure, caught at successive moments in time. Toulouse-Lautrec, on the other hand, employed freely handled line and colour that in themselves conveyed the idea of movement. Lines were no longer bound to what was anatomically correct; colours were intense and in their juxtapositions generated a pulsating rhythm; laws of perspective were violated in order to place figures in an active, unstable relationship with their surroundings. A common device of Toulouse-Lautrec was to compose the figures so that their legs were not visible. Though this characteristic has been interpreted as the artist’s reaction to his own stunted, almost worthless legs, in fact the treatment eliminated specific movement, which could then be replaced by the essence of movement. The result was an art throbbing with life and energy, that in its formal abstraction and overall two-dimensionality presaged the turn to schools of Fauvism and Cubism in the first decade of the 20th century.
The originality of Toulouse-Lautrec also emerged in his posters. Rejecting the notion of high art, done in the traditional medium of oil on canvas, Toulouse-Lautrec in 1891 did his first poster, Moulin Rouge—La Goulue. This poster won Toulouse-Lautrec increasing fame. “My poster is pasted today on the walls of Paris,” the artist proudly declared. It was one of more than 30 he would create in the 10 years before his death.

http://www.britannica.com/EBchecked/topic/600695/Henri-de-Toulouse-Lautrec