Mem.--Histoire de l'art--Paris, 1995.

Thesis (B.A.)--Bryn Mawr College, Dept. of Art, 2005. / Includes bibliographical references.

Henri de Toulouse-Lautrec (1863-1901) está presente no acervo do Museu de Arte de São Paulo Assis Chateaubriand (MASP) com onze obras que expõem diferentes momentos do percurso do artista, englobando mais de vinte anos de produção. A partir desse conjunto, o presente trabalho propõe a análise dessas obras, assim como as conjunturas de aquisição e de suas coleções anteriores à entrada no acervo do museu. Buscamos compreendê-las dentro do espaço do museu como objetos carregados de história, que permitem entender a obra e vida do artista, assim como as questões encadeadas pela trajetória dessas obras até o museu. / Henri de Toulouse-Lautrec (1863-1901) is present in the collection of the São Paulo Museum of Art Assis Chateaubriand (MASP) with eleven artworks that expose different moments of the artist\'s journey, encompassing more than twenty years of production. This research proposes to examine this set of artworks, as well as situations of acquisition and their previous collections at the entrance to the museum\'s collection, We seek to understand them within the museum space as historical objects, which allow us to understand the work and the artist\'s life, as well as issues posed by the trajectory of these works to the museum.

Henri de Toulouse-Lautrec (1863-1901) está presente no acervo do Museu de Arte de São Paulo Assis Chateaubriand (MASP) com onze obras que expõem diferentes momentos do percurso do artista, englobando mais de vinte anos de produção. A partir desse conjunto, o presente trabalho propõe a análise dessas obras, assim como as conjunturas de aquisição e de suas coleções anteriores à entrada no acervo do museu. Buscamos compreendê-las dentro do espaço do museu como objetos carregados de história, que permitem entender a obra e vida do artista, assim como as questões encadeadas pela trajetória dessas obras até o museu. / Henri de Toulouse-Lautrec (1863-1901) is present in the collection of the São Paulo Museum of Art Assis Chateaubriand (MASP) with eleven artworks that expose different moments of the artist\'s journey, encompassing more than twenty years of production. This research proposes to examine this set of artworks, as well as situations of acquisition and their previous collections at the entrance to the museum\'s collection, We seek to understand them within the museum space as historical objects, which allow us to understand the work and the artist\'s life, as well as issues posed by the trajectory of these works to the museum.

Pesquisa sobre Dramaturgia do ator e Tradução Intersemiótica como formas de pensar a Interpretação e a Encenação, respectivamente. Com este objetivo, aproxima-se o signo teatral de outras linguagens -- Artes Plásticas e Cinema -- para, através dos Estudos Genéticos, compreender o processo criativo que nos levou a dois exercícios cênicos: Efêmea e ...E fêmea. / This is a research about Dramaturgy of the actor and Intersemiotic Translation as a way of thinking about Acting and Staging, respectively. In order to do so, we relate the theatrical sing to other languages -- Crafts and Cinema -- for understanding, through Genetics Studies, the creative process which conducted us to both scenic exercises: Efêmea and ...E fêmea

Pesquisa sobre Dramaturgia do ator e Tradução Intersemiótica como formas de pensar a Interpretação e a Encenação, respectivamente. Com este objetivo, aproxima-se o signo teatral de outras linguagens -- Artes Plásticas e Cinema -- para, através dos Estudos Genéticos, compreender o processo criativo que nos levou a dois exercícios cênicos: Efêmea e ...E fêmea. / This is a research about Dramaturgy of the actor and Intersemiotic Translation as a way of thinking about Acting and Staging, respectively. In order to do so, we relate the theatrical sing to other languages -- Crafts and Cinema -- for understanding, through Genetics Studies, the creative process which conducted us to both scenic exercises: Efêmea and ...E fêmea

This thesis examines the relationships cabaret dancer Jane Avril formed with artist Toulouse-Lautrec and photographer Paul Sescau. As the star dancer of the Moulin rouge, Avril enlisted these two artists to create promotional images for her that set her apart from other performers in the competitive entertainment scene of the 1890s. This ability to direct her own advertisement methods was a creative opportunity that was available to few women during this time. These three figures were friends and artistic partners who lived in the outcast of society in fin-de-siecle Montmartre where they worked together and supported one another. Their many collaborations prove that Avril as well aware of the power she had in commissioning the most successful avant-garde artists of her time. This thesis studies Toulouse Lautrec’s painting Jane Avril Leaving the Moulin Rouge in chapter one, his poster, Jardin de Paris in chapter two, and Paul Sescau’s photograph of Avril in chapter three. Moving from Toulouse-Lautrec’s painting and poster to Paul Sescau’s photograph, I will show how Avril utilized multiple mediums to disseminate her image across Paris. Ultimately, mass media afforded Avril the most direct agency in shaping her public image. These collaborations prove that Toulouse-Lautrec in particular had an acute awareness of the public persona Avril crafted as a sophisticated yet unorthodox dancer.

Throughout the history of art, the pastel medium has been considered a medium of secondary interest. Despite its pulsating textures, vibrant colors, and unique receptivity to touch, this medium has been recognized above all for its swiftness in stroke and subsequent ability of the artist to record images of fleeting moments and ideas almost instantaneously. The focus on the advantageous rapidity of the pastel, however, hindered the pastel medium's potential as a mere preliminary technique to working with grander mediums, such as oil paint, thus failing to recognize the prominence of pastel in capturing character. This research endeavor focuses on a very specific era with comparably high usage of pastel-- late nineteenth-century Paris--and the distinctive characteristic that defines said era--the hyper-sexuality of the Parisian prostitute. The eminent presence of prostitution and the consequential iconography of female sexuality in late nineteenth-century Paris defined the world of French Bohemia and seeped into the artistic exchange of the era. Although holding a traditionally subsidiary position to other historically primary mediums, the pastel medium prevailed in communicating the sexuality, sensuality, and promiscuity of the sinful female in Paris at the close of the century. The pastel works of prominent artists in the nightlife milieu such as Henri de Toulouse-Lautrec and Edgar Degas which revolve around the theme of prostitution serve as key illustrations of the distinctive ability of the ephemeral medium to capture the mood and personality--and therefore the sensual quintessence--of its subject. Through contextual and visual analysis, this research endeavor thus ultimately aims to lift the traditionally secondary pastel medium to one of impressive proportions, emphasizing its unique advantages and raising its overall credence.