Complete Checklist

The order of the works in the checklist corresponds loosely to their arrangement in the exhibition.

Complete Checklist (click for larger images)

	Henri de Toulouse-Lautrec (1864–1901) Frontispiece from Elles, 1896 Lithograph printed in olive green, blue, and orange on cream wove paper 20 11/16 x 15 13/16 in. (52.5 x 40.2 cm) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1962.107 A monument in modern printmaking, Toulouse-Lautrec’s Elles portfolio has been interpreted as a chronicle of the daily lives of lesbians involved in the worlds of prostitution and entertainment. The evocative image of a woman in nightdress letting down her hair, seen from behind, in combination with the presence of a man’s top hat introduces one of the themes.
	Henri de Toulouse-Lautrec (1864–1901) Woman Reclining — Waking Up, from Elles, 1896 Lithograph printed in gray on cream wove paper 15 13/16 x 20 5/8 in. (40.2 x 52.4 cm) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1962.110 Here the rectangle of the sheet serves as the shape of a bed. From underneath a heap of disheveled bedclothes suggested by a nearly abstract pattern of undulating lines, the shaded, profiled head of a woman and a lax arm emerge. Through a half-opened eye, she regards the viewer/artist and presumed client with an air of familiarity.
	Henri de Toulouse-Lautrec (1864–1901) The Seated Clowness (Miss Cha-U-Kao), from Elles, 1896 Lithograph printed in green-black, black-brown, yellow, red, and blue on cream wove paper 20 11/16 x 15 13/16 in. (52.5 x 40.2 cm) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1962.108 This sheet features the contortionist dancer Miss Cha-U-Kao (a phonetic play on chahut-chaos or chaotic can-can). She is shown at rest, her outlandish costume, provocative pose, and brazen stare conveying her strong personality. Sharp outlines are set off against soft atmospheric effects achieved through a technique of blowing fine dots of ink on a lithographic stone.
	Henri de Toulouse-Lautrec (1864–1901) Dance at the Moulin Rouge, 1897 Lithograph printed in gray-black, blue-gray, red, yellow, and green on cream wove paper 18 1/2 x 14 in. (47 x 35.5 cm) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1962.119 Miss Cha-U-Kao is shown here waltzing with her lover in a moment of leisure at the Moulin Rouge. Their nearly identical walking suits and the shared contour line dividing them convey the couple’s intimacy.
	Henri de Toulouse-Lautrec (1864–1901) Box in the Grand Tier, 1897 Lithograph printed in black, orange-red, blue, beige, and yellow on cream wove paper 20 1/4 x 15 9/16 in. (51.4 x 39.5 cm) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1962.118 In this print, another example of the artist’s blurring of portrait and genre scene, the plush red balustrade of a theater box frames two well-known demimondaines attending a performance.
	Henri de Toulouse-Lautrec (1864–1901) At the Circus: Acrobats, 1899 Black and color chalks on white wove paper 9 15/16 x 14 in. (25.3 x 35.5 cm) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1955.1429 This circus scene, along with At the Circus: The Dog Trainer, belongs to a large group of drawings that Toulouse-Lautrec made from memory while he was recuperating in a medical clinic from alcoholism and a mental breakdown. The attenuated bodies and expressive gestures of the figures reveal the artist’s undiminished mastery of line.
	Henri de Toulouse-Lautrec (1864–1901) At the Circus: The Dog Trainer, 1899 Black and color chalks, over graphite, on white wove paper 14 x 9 15/16 in. (35.5 x 25.3 cm) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1955.1427 This circus scene, along with At the Circus: Acrobats, belongs to a large group of drawings that Toulouse-Lautrec made from memory while he was recuperating in a medical clinic from alcoholism and a mental breakdown. The attenuated bodies and expressive gestures of the figures reveal the artist’s undiminished mastery of line.
	Henri de Toulouse-Lautrec (1864–1901) The Jockey, 1899 Lithograph printed in black, green, red, brown, beige, and blue on cream wove paper 20 5/16 x 14 3/16 in. (51.6 x 36 cm) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1962.122 The bold foreshortening of the horse and its diagonal thrust convey the force with which the jockey and his mount propel themselves into the open field. Intended as part of a portfolio of prints on the theme of the racetrack, it is the only one the artist, in declining health, completed.