Maxime Dethomas

Maxime Dethomas (1896) by Henri de Toulouse-Lautrec

Maxime Pierre Jules Dethomas (October 13, 1867 – January 21, 1929) was a French painter, draughtsman, pastellist, printmaker, illustrator, and was among the best known theater set and costume designers of his era. As an artist, Dethomas was highly regarded by his contemporaries and exhibited widely, both within France and abroad. He was a regular contributor to the Impressionistes et Symbolistes, and a founding committee member of the Salon d'Automne. In 1912, he was awarded the Chevalier de la Légion d'honneur for his contributions to French art. During the latter part of his career, he is best remembered for his work overseeing set and costume design for the Théâtre des Arts and the Paris Opera. His works appear in many important collections, including the Musée d'Orsay, the Pushkin Museum and the Hermitage Museum. A large collection of his theatrically related work is held at the Bibliothèque-Musée de l'Opéra National de Paris. Dethomas is also remembered for his close friendship with the artist Henri Toulouse-Lautrec, his brother in-law Ignacio Zuloaga and his association with Les Nabis and other important Post-Impressionist and Symbolist artists and writers. Dethomas died in 1929 at the age of 61, and was buried at the Passy Cemetery, Paris.

Early life

Born in the Paris suburb of Garges-lès-Gonesse in 1867, Maxime Dethomas was the eldest of six children, including four half-siblings. His family came from a long line of painter-printers on one side, and lawyers on the other. His father, Jean Albert Dethomas (1842–1891), was an important Parisian politician and lawyer. His mother, Laure-Antoinette Béchet, died in 1874. His step mother, Marie Louise Thierrée, belonged to the affluent middle-class of Bordeaux.

Dethomas enrolled at the École des Arts Décoratifs in 1887 at which he studied for a brief time, followed by a more varied course from 1891 onwards, at the Académie de La Palette at 104 Boulevard de Clichy, Montmartre, under Henri Gervex, Puvis de Chavannes and Eugène Carrière. Carrière's influence played a significant role in the early development of Dethomas' art, and he would go on to be a close friend of both the artist and his family. Dethomas passed much of his time at the bookshop of the Revue Indépendante run by Edouard Dujardin, and it was here that he first met Louis Anquetin and Henri Toulouse-Lautrec.

Art

Dethomas' early style owes most to the influence of Carrière and Degas, whilst later works tend more towards that of Toulouse-Lautrec, Anquetin, Legrand and Forain. Dethomas claimed that his inspiration was guided by artists of earlier generations, particularly Goya, Delacroix and Manet, but his individuality of style ensured he would "not be influenced in his work by any methods or thoughts other than his own". He realised vigorous drawings, and some few oil paintings, showing Montmartre cafe scenes, portraits and views of Italy and Spain.

He primarily worked with broad strokes in conté, graphite and pastel, often enhanced by the masterful use of the splatter brush, with drizzles and sprays of gouache reminiscent of Lautrec lithographs. From the late 1890s, he developed a bold xylographic style which drew inspiration from Japanese prints. Degas, an avid supporter of Dethomas, spoke highly of his work asserting "it has weight". Described by Philippe Berthelot as "le meilleur fils de Degas", Dethomas nonetheless exhibited sparingly during the 1890s. Contemporary accounts suggest a "supercilious modesty prevented him from over-exhibiting his work though no artists merchant forbade him". In a letter written by Lautrec in the summer of 1895 to Joseph Ricci, Lautrec refers to Dethomas as his dear friend and compliments him as a painter "who doesn’t talk about his paintings, something that is to be admired". Despite his early reluctance to exhibit, he participated in some of the most significant exhibitions of the 1890s. His first solo exhibition in 1900 marked a turning point in his willingness to accept notoriety, leading to considerable accolades and public recognition.

Like many of his contemporaries, Dethomas explored various artistic mediums, including book illustrations, posters and print making. By 1895, he was producing programmes for Lugné-Poe's Théâtre de l'Œuvre and exhibition and advertising posters with print makers such as Edward Ancourt and Auguste Clot. Through his literary associations, many of his lithographs were published in print. With his illustrations engraved by Léon Pichon and Emile Gasperini, he illustrated works by many influential authors including Maurice Donnay and Octave Mirbeau.

Dethomas' art passed through the hands of such dealers as Jos Hessel, Galerie Durand-Ruel and Galerie Druet. Consequently, many of his works were acquired by influential collectors including Olivier Sainsère and Sergei Shchukin. Dethomas is also known to have had his works framed by the frame-maker and art dealer Pierre Cluzel (1850–1894), and his successor L. Vivien. In 1912, Dethomas was awarded the Chevalier de la Légion d'honneur for his contributions to French art.

Dethomas engaged models from both within his social circle, as well as otherwise unremarkable characters from urban life, searching out peculiarities of appearance that betrayed the social facades of the fin de siècle. "His characters are all scoundrels", joked Degas.Two such models would go on to lead remarkable lives, in no small part due to their association with Dethomas. Then model Suzanne Desprès became romantically involved with Dethomas in June of 1894, and continued to feature prominently in his art for some time, later becoming a famous actress and wife of theater director Lugné-Poe. Fernande Olivier would also model for Dethomas with some regularity, before meeting Picasso in 1904, her memoirs painting a vivid picture of her time in Dethomas' studio:

"He was tall and stout, with a pallid complexion, the type of slightly fleshy giant who spent his nights making sketches in night clubs. He had great difficulty staying awake after meals, which for him always had to be enormous.

"I used to arrive after lunch around two o'clock and would take up a pose, and he would begin to work. He had a litter of pretty little Siamese cats that would climb all over me or play with my bare feet in a way that was often quite fierce. Dethomas sketched, putting down a line on the paper or canvas with a steady hand, then he would get up, go and lie on the couch and fall asleep for at least an hour. During this time I was free to play with the cats, to read and eat the candies lying around in various dishes, even to sleep myself, in fact to wait for him to wake up in whatever way I felt like. And this happened frequently.

"As soon as he woke we would work without a break until five o'clock. People would knock on his door, ring the bell, call to him, he would not move,he never answered. I often met Suzanne Desprès, who had been his model for a long time,there. It was at the outset of her acting career and she was already attracting attention."

Theatre

Dethomas worked under Jacques Rouché during his tenure at the Théâtre des Arts (1910–1913). Upon assuming management of the theater, Rouché enlisted the talents of several artists of Les Nabis who had contributed to his magazine, La Grande Revue, including Jacques Dresa, René Piot and Maxime Dethomas, none of which had previously worked for the stage. As director of the Services Plastiques, Dethomas embarked on a career that would last for the remainder of his life. The Théâtre des Arts represented a major shift away from facile acting, shallow content and the painted-canvas drawing rooms of commercial theater that were the norm. The inaugural production, Carnaval des Enfants (1910), marked a major theatrical revolution by which Dethomas' settings accentuated line and colour, rather than a focus on painted detail and endless props. Against blue, ochre, grey and steel, black costumed characters created striking pictorial compositions in lighting effects that "varied like inflections in a conversation." The Théâtre des Arts went on to present nearly twenty plays, including Jacques Copeau's adaptation of The Brothers Karamazov (1911), and the production of La Tragédie de Salomé (1912), both a popular and critical success. Due to the small size of the theater, it eventually ran into financial trouble and closed.

Hired to direct and design at the Paris Opera (1914–1936), Rouché and Dethomas went on to offer fresh interpretation of old material and to make inroads into stale scenic convention. By 1917 Dethomas was also designing sets for the Comédie Française. Dethomas' reputation as a set and costume designer was such that in early 1912, he was commissioned by the British aristocracy to design a set and costumes for a London masked ball with some two thousand guests. Guillaume Apollinaire declared that Dethomas's influence on French Theatre had "transformed the art of scenery, costume design and staging." In 1926 the Opéra-Comique in Paris celebrated Manuel de Falla's 50th birthday with a program consisting of La Vida Breve, El Amor Brujo, and Master Peter's Puppet Show, with new designs by Falla's close friend Ignacio Zuloaga, and new marionettes carved by Dethomas. Dethomas once wrote that above all else decor should be a good servant of the play and that a designer must get beyond a painterly "feel" to something more solid.

Associations

Henri de Toulouse-Lautrec, always drawn to physical eccentricity, nicknamed him Grosnabre (roughly: the big tree) for his imposing height and dead-pan face; Thadée Natanson described him as a gentle giant, polished and discreet – "He was so frightened of wearing anything that might draw attention to himself that even the black of his clothes seemed duller than that worn by others." Paul Leclercq claimed that Lautrec was fascinated by Dethomas' "ability to preserve an impassive appearance even in a place of amusement ". Dethomas' placidity, corpulence and extreme shyness - he always blushed when he had to raise his voice - endeared him to Toulouse-Lautrec. Philippe Berthelot recalled that Toulouse-Lautrec playfully attributed his companion super-human strength and would loudly declare with mock seriousness that Dethomas "could have anyone's hide at his leisure!".

In 1887 Dethomas began frequenting the library of La Revue Indépendante, a favorite haunt of artists and writers, in which he first befriended Louis Anquetin and Toulouse-Lautrec. Their friendship blossomed – so much so, that Dethomas would go on to become Toulouse-Lautrec's "favourite companion" and "closest friend". They lived but streets apart, often visiting the cafes, cabarets, shady bars and brothels of Montmartre, including the Moulin rouge and Le Chat Noir, or extended stays at the notorious closed houses Rue de' Amboise or the Rue Joubert. On the 16th February, 1895, an infamous soiree was held by the Natansons to celebrate the unveiling of murals by Vuillard. Dethomas and Toulouse-Lautrec, tending bar with absurd costumes and flourishes of theatrical drama, served over two thousand cocktails to three hundred guests. The event was long remembered as one of the most debaucherous evenings of the fin-de-siècle. Such escapades played an essential role in the development and themes of both Dethomas' and Toulouse-Lautrec's art.

Dethomas and Toulouse-Lautrec's adventures together were not limited to the streets of Paris. They traveled extensively throughout the 1890s, visiting exhibitions, museums and mutual friends or exploring towns such as Dinard, Granville and Arromanches. During the summer of 1895, they journeyed to the coast of Normandy together. From photographs taken by Dethomas on one such visit to St. Malo with the Natansons, he later modeled two portraits of Toulouse-Lautrec, both of which now hang at the museum in Albi. From June 20 to July 5, 1897, Dethomas and Toulouse-Lautrec sailed Holland's canals on a barge, visiting Utrecht, the Frans Hals Museum at Haarlem and the island of Walcheren. The trip had been the suggestion of Dethomas in a vain attempt at moderating Toulouse-Lautrec's increasing reliance on alcohol. Accounts differ, but the trip appears to have ended early at Toulouse-Lautrec's behest. Before long, he went into a furious rage and refused to go ashore; children were running behind the barge on the bank of the canal, taking them to be a performing giant-dwarf duo that would perform circus tricks for their delight.

Lautrec featured Dethomas in his art with some frequency. On April 6, 1895, the former Moulin Rouge dancer Louise 'La Goulue' Weber commissioned two large canvases to adorn her travelling show's tent. Dethomas appears on the left-hand panel, with his back turned to the viewer. At around the same period, Toulouse-Lautrec declared "I will capture your immobility in places of pleasure", and over the course of one and a half years, he made numerous preparatory sketches of Dethomas intended for a single painting, each taking anywhere from five to fifteen minutes to create. Completed in 1896, the famous portrait of Maxime Dethomas at the Bal de l'Opera now hangs in the National Gallery of Art, Washington D.C.. Another portrait of his friend took the form of a risque lithograph entitled Debauche Avec Dethomas, and was later used on the cover of an exhibition catalogue of June, 1896. Finally, an 1896 lithograph entitled Anna Held et Baldy also features Dethomas, leering provocatively at the famous stage performer. Toulouse-Lautrec gifted a copy of this lithograph to Dethomas, which he retained until his death. During the final years of Toulouse-Lautrec's descent into full-blown alcoholism, Dethomas would rarely leave his side, often escorting him to his Montmartre home at the end of long drinking sessions. Toulouse-Lautrec's final convalescence at Madrid-les-Bains and Bordeaux in the months leading up to his death, prompted Dethomas to make one last journey for his old friend, their friendship lasting until the very end.

Dethomas had a number of prominent writer-friends, one of which was Marcel Proust. Proust made a glowing mention of Dethomas' landscapes of Venice in The Sweet Cheat Gone and discussed the quality of his work after attending an exhibition held at Galerie Durand-Ruel. In a March, 1903 letter to Dethomas, Proust wrote that after having seen his exhibition, he received "a profound initiation to the understanding of nature and love of life." He continued, "it seems that one has gotten from you new eyes to look at life and men and even down to those little windows on the Grand Canal that I would love to juxtapose with yours."

During 1889, Dethomas formed a lifelong friendship with the Spanish artist Ignacio Zuloaga. Zuloaga studied in Paris under Eugène Carrière with Dethomas. Dethomas invited Zuloaga to stay with his family for some period, during which Zuloaga formed a bond with Maxime's half-sister, Marie-Valentine. Zuloaga stayed with Dethomas in his Montmartre apartment during 1894. Zuloaga went on to marry Marie-Valentine on May 18, 1899, with Eugène Carrière and Isaac Albéniz as witnesses.

The author Pierre Louys was also a close companion of Dethomas and had collaborated with him on the first edition of Le Centaure in 1896. During August and September 1898, Dethomas acted as a marriage broker of sorts, attempting to bring together his sister Germaine and Pierre Louys, a plot that was thwarted by Dethomas' stepmother.

Exhibitions

• 1894 - Exhibited at the 6th (sixième) Impressionistes et Symbolistes exhibition at the Galerie Le Barc de Boutteville (commenced March, 2). With Gauguin, Maufra, Jacquemin and others. (Reviewed in Journal des débats politiques et littéraires – March 3, 1894.)
• 1894 - Exhibited at the 7th (septième) Impressionistes et Symbolistes exhibition at the Galerie Le Barc de Boutteville (commenced July, 10). With Toulouse-Lautrec, Ibels, Maufra and others. Review makes particular mention of "a delightful pastel, Etude de femme, by M. Dethomas", and "the Woman with the Cup (Femme à la tasse) and Sleep (Sommeil) by Dethomas". (Review in Le Matin : derniers télégrammes de la nuit - 22 July, 1894.)
• 1895 - Exhibited at the 8th (huitième) Impressionistes et Symbolistes exhibition at the Galerie Le Barc de Boutteville (commenced November, 8). With Anquetin, Toulouse-Lautrec, Roussel and others. Dethomas received a notable mention. (Reviewed in Le Petit Parisien : journal quotidien du soir – 12 November, 1894.)
• 1895 - Exhibited at the 9th (neuvième) Impressionistes et Symbolistes exhibition at the Galerie Le Barc de Boutteville (commenced April, 27). With Maurice Denis, d'Espagnet, Robbe and others.
• 1895 - Exhibited at the 10th (dixième) Impressionistes et Symbolistes exhibition at the Galerie Le Barc de Boutteville, with Anquetin, Leheutre, d'Espagant, Loiseau, Maillol, Regnier and others. (Reviewed September 19, 1895.)
• 1895 - Exhibited at the Maison de l'Art Nouveau : [Galerie Samuel Bing, 26 Décembre 1895 - Janvier 1896] with Vuillard, Lautrec, Rodin and others. Lot 75 — "Étude de femme en robe orange". An exhibition review of January, 4 makes particular mention of "une jolie petite femme en rouge de M. Maxime Dethomas".
• 1896 - Exhibited at the 11th (onzième) Impressionistes et Symbolistes exhibition at the Galerie Le Barc de Boutteville (commenced January 27) with Roussel, Piet and others. Lot entitled "des fleurs".
• 1896 - Exhibited at the 13th (treizième) Impressionistes et Symbolistes exhibition at the Galerie Le Barc de Boutteville. (Mercure de France exhibition review of September 1896 stated: "J'y retins avant tout le monde Dethomas, dont les esquisses sombres sont d'une coloration interessante, d'un gout sur, d'une elegance nerveuse qui fait augurer de serieux resultats.")

Poster designed by Maxime Dethomas and printed by Auguste Clot for the thirteenth Impressionists and Symbolists exhibition at the Barc de Bouttville, opening December 26, 1896. The original artwork is held at the Musée des Beaux-Arts, Bordeaux.

• 1897 - Exhibited at the 14th (quatorzième) Impressionistes et Symbolistes exhibition at the Galerie Le Barc de Boutteville. La Justice review of July 8 states " Maxime Dethomas a composé une affiche originale pour cette quatorzième exposition, ainsi que des études d'intérieur avec do délicats profils de femmes. "
• 1900 - First solo exhibition took place at the Galerie des Artistes Modernes, 19 rue Caumartin (ending May.5) Exhibition revue in La Vie Parisienne of May 5, 1900 stated: "Rue Caumartin, l'exposition Maxime Dethomas (une quarantaine tout au plus de cadres), au contraire de tant de déballages picturaux, laisserait désirer un supplément de spectacle. Une série de femmes à mi-corps, décrites d'un fusain gras que réchauffe parfois un peu de pastel ou d'aquarelle. Il y en a deux, vues de dos, avec une Venise froide et bleue dans le fond, qui sont d'une pâte vraiment régalante (no. 47); et une autre, assise de face, avec un corsage arrondi, fait de vermicelles rouges, et des yeux qui ont l'air d'avoir longtemps contemplé une prairie (n" 17). Notez que ces jeunes personnes sont enveloppées d'air respirable, ce qui est, en peinture, plus rare qu'on ne l'imagine, et qu'elles ont pour la plupart je ne sais quelle allure espagnole qui est une des meilleures choses qu'on ait rapportées depuis longtemps de Venise."
• 1901 - Exhibited at Galerie Silberberg, 29 rue Taitbout (Nov.11) with Anquetin, Flandrin and others.
• 1903 - Exhibited (Solo) at Galerie Durand-Ruel, "sketches of Paris and Italy". Exhibition revue in the Gazette des beaux-arts supplement of April 25, 1903 states: "Son talent s'est formé à l'école'de Carrière et dans le commerce de Toulouse-Lautrec, d'Anquetin et de Zuloaga. La rencontre et la fusion d'enseignemerts aussi dissemblables devaient avoir pour résultante un art libre et à son tour personnel. M. Dethomas saisit et note avec succès le lien qui unit les acteurs d'une même scène ; montre-t-il un personnage isolé, il le campe dans une attitude signalétique et lui donne des allures qui atteignent au style. Ses paysages urbains sont pleins de caractère. On lui saura gré, par surcroît, d'avoir marqué les contrastes voulus entre les aspects et la vie de Paris et d'Italie avec le tact d'un observateur réfléchi et sensible."
• 1903 - Exhibited at La Libre Esthétique - Dixième Exhibition in Brussles (Feb.26 - Mar.29) with Denis, Rusinol and others.
• 1905 - Exhibited at the 3rd Salon d'Automne at the Grand Palais des Champs-Élysées, Paris. Five drawings (461-465) titled 'Au moment du cafe', 'Le Conferencier', 'Premiere Auditrice', 'Seconde Auditrice' and 'L'Arpette'.
• 1906 - Exhibited (solo) at the Galerie de l'Art Decoratif [7 rue Laffitte] (Apr.23-May.17) Sketches and charcoals of Venice and its people later used to illustrate Regniers book Esquisses Venetiennes.
• 1906 - Exhibited at the 4th Salon d'Automne at the Grand Palais des Champs-Élysées, Paris.
• 1907 - Exhibited at the 5th International Exposition of Barcelona, with Zualoga and Rodin.
• 1907 - Exhibited at the 1st Salon de Humoristes at the Palais de Glace with Forain and others.
• 1907 - Exhibited at La Comédie Humaine (galerie Georges Petit) with Forain, Degas and others.
• 1908 - Exhibited at the 2nd Salon de Humoristes at the Palais de Glace with Forain and others.
• 1908 - Exhibited at the Exposition de la Toison d'or, Moscow (Ref: Exhibition Catalogue).
• 1908 - Exhibited at La Comédie Humaine (galerie Georges Petit) with Lautrec, Dresa and others.
• 1908 - Exhibited with Rodin and Zuloaga at the Kunstverein, Frankfurt, Germany.
• 1911 - Exhibited at the 10th Salon d'Automne in the Grand Palais
• 1911 - Exhibited (solo) drawings and sketches at Galerie Druet (Mar.27 - Apr.8). L’Action Francaise review of March 30th states: "Le talent sobre et vigoureux de ce grand artiste qu'est Maxime Dethomas se manifeste ici en une centaine de pièces de tout premier ordre, quelques-unes destinées à l'illustration d'ouvrages connus, d'autres libres, spontanées et d'un mouvement incomparable. Par la puissance et la netteté du trait, par la cruauté de l'observation, par une ironie profonde et naturelle, Dethomas s'apparente à Daumier. Il est comme Daumier, un moraliste, et sa verve, même caricaturale, devient aisément lyrique. Nous recommandons au visiteur Le Colporteur et le Socialiste, le Passage de l'Express, La Mauvaise Amie et enfin un Adieu où la mélancolie de deux visages rapprochés atteint à la plus haute poésie. Bien au-dessus de ses émules, qui ne cherchent dans l'actualité qu'un amusement ou un prétexte à cocasserie, Maxime Dethomas typifie la vie quotidienne et les rencontres du salon, du cercle, du bar, de la rue. Il est dès aujourd'hui un des premiers représentants de l'art français contemporain."
• 1911 - Exhibited at the International Exhibition of Turin (Apr. – Nov.).
• 1911 - Exhibited at La Libre Esthétique, Bruxelles (Mar.18 - Apr.23) with Vuillard, Denis and others.
• 1911 - Exhibited with the Exposition annuelle 2eme groupe at Galerie Druet (Mar.13 - 25) with Baignières, Desvallières, Dufrénoy, Fleming, Guerin, Marque, Marval, Piot, Rouault, Jaulmes and Lacoste.
• 1912 - Exhibited at Galerie Druet with Baignieres, Desvallieres, Flandrin, Geurin, Marquet, Marval, Piot and Rouault (Feb.5 – 17)
• 1912 - Exhibited at the Artz and De Bois in The Hague, Netherlands (Mar. - Apr.) with Bussy and Huszar
• 1913 - Exhibited with the Exposition annuelle 2eme groupe at Galerie Druet (Feb.17 - Mar.1) with Baignères, Desvallières, Dufrénoy, Fleming, Guerin, Marque, Marval, Rouault and Mare.
• 1913 - Exhibited at the Societa Leonardo da Vinci (May 11–31), in Florence, Italy.
• 1914 - Exhibited with the Exposition annuelle 2eme groupe at Galerie Druet (Feb.9 - 21) with Baignères, Desvallières, Dufrénoy, Fleming, Guerin, Marque, Mrs Marval, Rouault, Bernouard and Moreau.
• 1915 - Exhibited two framed drawings in the French Pavilion of the Panama-Pacific International Exposition (PPIE) Worlds Fair, San Francisco, U.S.A.
• 1916 - Exhibited at the Detroit Museum of Art, U.S.A. The exhibition of PPIE works. (October Exhibition Catalogue) Lot. 80 - "Yvonne", Lot. 81 - "Jeanne"
• 1917 - Exhibited with the Exposition annuelle 2eme groupe at Galerie Druet (May 7–25) with Desvallières, Dufrénoy, Fleming, Guerin, Marque, Marval, Rouault and Barbier
• 1922 - Exhibited at the Musée des Arts Décoratifs, Paris (Apr.12 - May 7) with Emile Decoeur, Albert Marque and Paul Follot.
• 1928 - Exhibited (solo) drawings and watercolours at the Galerie Simonson, Paris (Mar.20-Apr.5).
• 1992 - Exhibited (solo) at the Musée d'Orsay, Paris (Feb.25 - May 24).
• 2016 - Exhibited at the Museo de Bellas Artes de Granada, Spain (Jun.30 - Sept. 18)

Publications

Dethomas made an important contribution to the renaissance of book production in France. The following list, though incomplete, gives a broad representation of Dethomas' artistic contributions to published literary works:

• Collectif, Le Centaure, Vol 1, 1896
• Jean de Tinan, Aimienne, Ou le Detournement de Mineure, 1899
• Henri de Regnier, Esquisses Venetiennes, 1906
• Paul Adam, Le Trust, 1910
• Jean Giraudoux, Amica America, 1918
• François Chateaubriand, La Campagne Romaine, 1919
• Jean Giraudoux, Adieu à la Guerre, 1919
• Rudyard Kipling, La Plus Belle Histoire du Monde, 1919
• Jean and Jérome Tharaud, Dingley l'illustre écrivain, 1920
• Paul Claudel, Tete D’or Drame, 1920
• Andre Lebey, Jean de Tinan, 1921
• Boileau Despreaux, Le Lutrin, 1921
• Jaques Cazotte, Le Diable Amoureux, 1921
• Jean de Tinan, Noctambulismes, 1921
• Andre Maurois, Ariel ou la Vie de Shelly, 1922
• Arthur Gobineau, Scaramouche, 1922
• Molière, Theatre Complet, 1923
• Albert Touchard, La Mort du Loup, 1924
• Edmond Jaloux, Le Reste est Silence, 1924
• Jean Giraudoux, Le Couvent de Bella, 1925
• Anatole France, Ouvers Completes Illustrees, Tome I, IX, XIII, 1925-27
• Charles de Saintcyr, Sous le Signe du Caribou, 1928
• François Mauriac, La Nuit du Bourreau de Soi-meme, 1929

References

Bibliography

• Agen, Manzani Diaz. Manuel de Falla: His Life and Works. Omnibus Press, 1999.
• Apollinaire, Guillaume. Apollinaire on Art: Essays and Reviews, 1902-1918. Viking Press, 1972
• Blotkamp, Carel. De Stijl: The Formative Years, 1917-1922. MIT Press, 1986.
• Boone, Elizabeth. Vistas de España: American Views of Art and Life in Spain. Yale University Press, 2007
• Bucknall, Barabara. Critical Essays on Marcel Proust. G.K. Hall, 1987.
• Carson, Lionel. The Stage Year Book. Carson & Commerford, 1917.
• Carter, William. Marcel Proust: A Life. Yale University Press, 2002.
• Cheney, Sheldon. Stage Decoration. Blom, 1966.
• Cooper, Douglas. Henri de Toulouse-Lautrec. H.N. Abrams, New York, 1956
• Craven, Thomas. A Treasury of Art Masterpieces. Simon and Schuster, 1958
• Dortu, M.G. Lautrec by Lautrec. Galahad, New York, 1964
• Garafola, Lynn. Legacies of Twentieth-Century Dance. Wesleyan University Press, 2005
• Garner, Philippe. Encyclopedia of Decorative Arts. Galahad Books, 1982.
• Gauzi, François. My Friend Toulouse-Lautrec. Spearmen, London, 1957.
• Gold, Arthur. Misia: The Life of Misia Sert. Knopf, 1980
• Hecht, Anne. Toulouse-Lautrec: Paintings, Drawings, Posters, and Lithographs. Museum of Modern Art, N.Y. 1956.
• Howard, Jean. Shakespeare Reproduced: The Text in History and Ideology. Routledge, 2005.
• Huddleston, Sisley. France and the French. Cape, 1928.
• Huntington Wright, Willard. Modern Painting - Its Tendency and Meaning.
• Lassaigne, Jacques. Lautrec: Biographical and Critical Studies. 1972.
• Londre, Felicia. The History of World Theatre. Continuum, 1999.
• Milhou, Mayi. Ignacio Zuloaga et la France, These d'Histoire de l'Art, October 1979, Bordeaux III.
• Neiderauer, David. Pierre Louÿs, His Life and Art. Canadian Federation for the Humanities, 1981.
• Néret, Gilles. Henri de Toulouse-Lautrec, 1864-1901. Taschen, 1999
• Olivier, Fernande. Loving Picasso: The Private Journal of Fernande Olivier. Abrams, 2001.
• Prade, Guy de la. Le Cimetière de Passy et ses Sépultures Celebres. Editions des Ecrivains, 1998.
• Roger-Marx, Claude. L'Europe Nouvelle. February 2nd, 1929, Paris.
• Taylor, E.A. The Studio - Vol 84, No 353, August 1922, London.
• Vauxcelles, Louis. Art and Decoration, January 1909, Paris.
• Vauxcelles, Louis. Gil Blas, July 7th, 1905, Paris.

External links

• Musee d'Orsay, Paris
• The National Gallery of Art, Washington
• The Hermitage Collection