The artistic research underlying the exhibition itinerary of the exhibition at Palazzo Roverella focuses on identifying Toulouse-Lautrec’s creative process in relation to his time. From a critical point of view, the exhibition aims to contextualize both the formative years – and the related production of one of the most iconic exponents of culture beyond the Alps at an international level – and to re-insert him into the right perspective with respect to his contemporaries and the artistic currents of the time. To pursue this objective, the cultural institution makes use of a scientific project curated by Francesco Parisi, Jean-David Jumeau-Lafond, Fanny Girard and the collaboration of Nicholas Zmelty. As Parisi points out: “The aim was to lift the figure of Lautrec from the imagination of the cursed painter, alcoholic who frequented brothels and relocate him in the history of art, especially in the post-impressionist period, a boiling cauldron of artistic tendencies, first of all the impressionists which dominate the scene when Lautrec prepares for public exhibitions even if set up in small cafés”.
Precisely one of these events proved to be of enormous importance in the history of art. Organized by Vincent Van Gogh, Les Peintres du petit boulevard (the first group of which Toulouse was part) participated, which took this name in ideological contrast to the large galleries of the main Parisian streets which promoted exponents of the academic area.
Retracing the revolutionary energy of his career, an attempt was made in the exhibition to avoid the combination Lautrec – Belle Époque. The artist’s production dialogues with the works of his contemporaries and intends to highlight what inspired his art and his projects. The correspondences with Jules Chèret, one of the great authors of Manifesti, are highlighted. While supported by the study of many documents, for the first time Lautrec’s work is compared to that of Félicien Rops, undisputed master of Symbolism in France; thesis that can be recognized in Pornocate, whose black gloves and stockings will be the characteristics of Henri’s imagination. The works selected for Palazzo Roverella are divided between works from his youth and those from his adult years, which visually identify the quality of his career, the modernity and diversity of his cultural production.
Among paintings, pastels, preparatory drawings and posters from important American and European museums (of which 20 are loans directly from Albi) and a series of masterpieces by the protagonists of this period, the exhibition focuses on six focuses. “Paris 1885-1900”, the first section entitled “Le Chat Noir”, or rather the invention of the artistic cabaret, a place full of imagination that celebrates the freedom and libertine spirit of Paris, the symbolic sense of humor of the democratic climate of the period. Inside it is the Shadow Theater of which collections of fashion sketches are on display. The cabaret, founded by Rodoph Salis, famous for its bizarre character, was frequented by great personalities such as Satie who played there, Debussy, up to the future King Edward VII. “Toulouse-Lautrec and his artist friends” section where the Verlaine painting is located. “The renewal of graphics” which highlights the attention that Lautrec had for the new techniques of the time, also working on photography. The exhibition offers a world premiere of an entire corpus of works discovered last year and exhibited for the first time following over 100 years from the artistic movement Les Arts Incohérents, a parody movement towards official art. Without forgetting the theme of Absinthe, a drink consecrated in those years by personalities such as Van Gogh and Degas, which led to moral and social devastation throughout France, so much so that it was prohibited in 1914. Lautrec became the illustrator of social dramas and existential issues of those who used it.
Henri de Toulouse-Lautrec Palazzo Roverella, Rovigo Until 30 June 2024
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2024-03-21 17:09:25
