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Rich, Daniel Catton 

Henri de Toulouse-Lautrec 
"Au Moulin Rouge" 







are intended to serve a three-fold purpose: first of all they are meant to encourage the 
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them new and more rewarding beauties. By this means the reader will not only become 
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this specific purpose, these books, in their selected reproductions of details, offer to all 
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The introductions to the books will give in the form of short essays all that is known 
about each work and its relation to the age in which it was created. 


Press comments on previously published Gallery Books. 


The new "Gallery Books" provide something more than a set of mere descriptions of singled-out master- 
pieces, and the reviewer can justifiably indulge in praise of the idea behind the series as a whole as well as 
in comment on its individual members. The Listener. 

Mr. Mortimer has surmounted his difficult task with spirit and critical acuteness. He gives interesting in- 
formation about the artistic ideals of the times, and his detailed illustrations are well chosen to show Manet's 
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The selection of reproductions from the Seurat "Baignade" could not be bettered. It was a happy thought 
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... a process of interest and delight to the general art lover as well as to experts and students. Appreciation 
and understanding are helped. Yorkshire Post. 





















by Daniel Catton Rich 

A U MOULIN ROUGE", the painting by Toulouse-Lautrec in the Art 
-Z. JL Institute of Chicago, is not only compelling for its subject, which 
represents a group of the artist's friends at his favourite night-spotlit is one of 
the most carefully designed pictures of a brief and brilliant career. Often 
Lautrec is to be admired chiefly for his jdraughtsm an ship Jth 3 1 supple, expressive 
line which, racing across a bare canvas, turns it into a drawing, masterful in 
characterization and vivacious in rhythm. But/here he set himself a major 
problem in painting, developing with extreme care and progressive changes a 
large and controlled composition. ./ 

Though Lautrec had sketched his first cabaret subjects in 1886, it was not 
until he discovered the possibilities of the Moulin Rouge, some three or four 
years later, that he really found himself. At that moment the Montmartre 
cabaret was at the height of its fame. The management had shrewdly hired the 
most popular and eccentric dancers in Paris; along with them appeared famous 
singers of ballads and sentimental songs. The place was thronged with artists, 
writers, Bohemians and tourists, and nightly Lautrec had a special table reserved, 
where he sat, sharply observing and setting down the effects of alcohol and 
depravity upon the haggard faces of the clientele. "Ah, la vie, la vie," he used 
to mutter as his hand traced the lines of a broken profile or captured, with 
inimitable swiftness, the splayed and awkward movement of some dancer's leg. 

From such data he designed paintings and drawings and posters of the 
Moulin Rouge, concentrating over and over again on a few characters like the 
plump and vulgar Louise Weber, nicknamed "La Goulue" ("The Glutton"), 
or the sinister Jane Avril, better known; as "La Melinite" from a popular 
explosive of the day. In the painting Au Moulin Rouge he has gathered together 
a group of his favourites. Seated round the table from left to right are Edouard 
Dujardin, La Macarona ("who", according to a contemporary, "had the face 
of a toad"), Paul Sescau, the photographer, and Maurice Guibert, one of the 

painter's intimates. Though the woman with the "psyche" of flaming red hair 
is not identified, in the background appear the tall, rangy form of Lautrec's 
cousin, Dr. Tapie de Celeyran, and the stunted figure of Lautrec himself, 
wearing his famous "melon" hat. To the right is La Goulue, hand on hip, 
while another dancer stands by, adjusting her hair. Above, in the glass partition, 
Lautrec has caught reflections of the gaslights and suggested figures beyond. 

This was the painting as he first planned it (fig. 10). The original format 
stressed the horizontal. The group of figures, seen in hatfdength, is-dese to the 
spectator who IsTmagined as standing up and looking over their shoulders. 
This "snap-shot" view, inspired by the tilting perspectives of Degas and 
confirmed by^La^utr^eV-ow^Ljcajnefa-e^penments with Sescau, was calculated 
to bring one intimately jnto_the group, an effect heightened by the sharply cut 
railing in the lower left. If we compare it with Au Ba/ du Moulin de la Galette 
(fig. 2), painted in 1889 and also in the Art Institute, we see at once that Lautrec 
has adopted for Au Moulin Ro/^V^morejntegratedj^solid arrproach. In the 
earlier picture the canvas is stained, rather than painted, with quick strokes 
of the brush which sketch the jostling crowd of dancers and touch in the 
main lines of the composition. Only certain heads are developed more broadly 
and even there the method of approach is that of a draughtsman. Indeed, the 
Moulin de la Galette, with its emphasis on Impressionist movement and palette 
of vivid blues, greens and violets recalling the colour theories of Seurat and 
Signac, is a picture which essentially belongs to Lautrec's style of the 'eighties. 
In the same way, Au Moulin Rouge is a product of the next decade. 
when it was painted, he was in full command of his powers. 
"Xautrec was born in Albi in 1864, son of Count Alphonse de 
Lautrec-Monfa, an eccentric sportsman whose passions were riding and 
hunting with falcons. Henri was destined to follow the family tradition of an 
outdoor life with occasional gay visits to Paris. Had not tragedy intervened he 
would probably never have become an artist at all, or remained at most a 
talented amateur. But much to his father's disgust the boy was frail. Sternly 
on Henri's eleventh birthday the Count presented his son with a book on 
falconry in which he wrote these significant words: 

"Remember, my son, that life in the open air and in the light of the sun is 
the only healthy life; everything which is deprived of liberty deteriorates and 
quickly dies". 

But Henri was not to live "the healthy life". By the age of fourteen he had 
broken both legs and in spite of the best medical care, his limbs refused to 
grow. He was left a stunted cripple who for the rest of his life carried a man's 

2 Au Bal du Moulin de la Galette, by TOULOUSE-LAUTREC 

heavy torso on the feeble legs of a child. He did not, however, "deteriorate 
and quickly die". Before he was ten he had become an ardent draughtsman, 
and while the Count rode away Henri remained behind to fill notebooks with 
sketches of horses and tandems. The father knew some of the best animal 
painters of the day. John Lewis Brown and especially Rene Princeteau, 
encouraged the boy when he lay ill in Albi. By 1882 he had entered the atelier 
of Leon Bonnat in Paris where he dutifully and unsuccessfully tried to follow 
the academic teaching of the master. "Your painting is not bad, Monsieur," 
Bonnat once remarked, "but your drawing is simply atrocious!" From Bonnat 
Lautrec progressed to Fernand Cormon, a dull, historical painter. At Cormon's 
his most stimulating contact was with Vincent van Gogh. But Paris, itself, 
supplied the best teaching. There was the discovery of the Impressionists and 
Degas in particular who could show him how a strong rhythmic approach 

might be used to catch exciting aspects of contemporary life. There was Forain 
who was turning Degas into illustration and who could furnish broader 
suggestions as to subject matter and quick staccato line. Now he was ready for 
different, more painterly effects. 

Though drawing remained first and last the basis of his art, he here conceived 
the composition of Au Moulin Rouge in larger, simpler masses. A central pattern 
\of darks made by the figures surrounds a luminous core of the lighted table- 
Icloth, which in turn throws light up into the faces. Colour is no longer scattered 
over the entire picture but is carefully spotted for its^shock value, as in the knot 
of red-orange hair playing against mauves and lilacs in the costumes. Greater 
attention is paid to the laying-on of paint which here builds, rather than 
suggests, solid form. In short, this canvas is the result of a far more organizing 
vision than may be found in Lautrec's earlier work. 

What occasioned this deepening of style? For one thing it was about this 
time that Lautrec began to design posters. In 1891 he made a coloured affiche, 
advertising the dancing of La Goulue at the Moulin Rouge. Here, and in the 
posters and lithographs that soon followed (fig. 9, L' Anglais au Moulin Rouge), 
the artist found that he must reduce his tangle and cross-hatching of lines to 
a few organic strokes. He learned to cut down many colours to a few striking 
hues, to mass and silhouette his once too-intricate shapes. Undoubtedly these 
lessons carried over into painting and account for part of the new composi- 
tional force in A.u Moulin Rouge. But there is another influence, so far un- 
noticed by students of Lautrec. In i888_Gau^uin_h^_45ainted a picture, the 
Cafe de Nuit (fig. 4), during the brief and tragic period when he had lived with 
van Gogh in Aries. The painting has remained relatively unknown due to the 
overwhelming fame of Vincent's picture of the same subject and to the fact 
that it belongs to the Museum of Modern Western Art in Moscow, but there 
is no doubt that Lautrec knew Gauguin's picture. He was acquainted with the 
artist and may easily have seen it in Gauguin's studio between the years 1890 
and 1891. From this canvas Lautrec clearly appropriated the motif of several 
figures round a table which occurs in the background of the Aries picture, and 
brought it forward to serve as the main theme of Au Moulin Rouge. 

Of course, Lautrec had a long tradition of nineteenth century pictures of 
figures grouped at tables to guide him. 1^^!taHe^iOuie!Lhad,^in fact, a 
^ long development in Eurc^e^n^aintmg i _^n^_back as farjis the sixteenth 
century where the scene of the prodigal son roistering aTthelnn in tfiecoinpany 
of thieves and harlots had been popular. The seventeenth century Dutch 
turned it into pure genre, retaining, however, some of its low-life elements. It 

3 La Serveuse de Bocks, by MANET 

was again revived by nineteenth century realists while the Impressionists often 
employed it. Among the most striking Impressionist examples are Renoir's 
Le Cabaret de la Mere Anthony (fig. 7) now in Stockholm, Manet's La Serveuse 
de Bocks (fig. 3), the Tate Gallery, London, and Degas' L,' Absinthe (fig. 6), in 
the Louvre. But the likenesses between Gauguin's group and the figures in 

4 Cafe de Nuit, by Gauguin 

Au Moulin Rouge are too close for any explanation but direct influence. While 
there are only four people at the table of the picture in Aries, the man with the 
beard seen in profile at the right foretells the figure of Dujardin. Next there is 
a woman in full face to be compared with La Macarona. Next in Gauguin's 
picture is a man seen in three-quarter view and placed like Sescau, and a second 
woman with her back to the spectator like Lautrec's unknown model. He has 
even re-interpreted the shawl and strange cap of Gauguin's woman in the 
elegant fur-trimmed jacket and fantastic hat of his own red-haired heroine 
(fig. n). At his table, Gauguin painted two chairs which are likewise taken over 
by Lautrec. In addition, the slanting white table in the foreground of the 
Cafe de Nuit and the oblique lines of the billiard table find echoes in Lautrec's 
composition. Colour, too, had its effect. Gauguin's unusual palette of cinnabar 
red, orange, tan and green due perhaps to van Gogh's passionate harmonies 

is subtly felt in Lautrec's more modulated handling. The very subject of 
Gauguin's canvas, a night cafe, may easily have suggested the use of an 
arabesque of figures for Lautrec's similar subject of Au Moulin Rouge. 

This is as far as the influence went in Lautrec's first version. Once the linear 
scheme had been detached from Gauguin he was free to develop it in his own 
unmistakable idiom. He had no use for the separated 

o/JGagtttn^feeling, no doubt,^JacjL_of_rhYthmic flow and^vitality_-in these 
stiffly_f)atternd^figures. The faint, enigmatic quality of Gauguin, found parti- 
cularly in the few canvases he painted in Aries, Lautrec replaced by vigorous 

5 Portrait of the actor , Osagatva Tsuneyo II, by Sharakku 

v - 

^psychological portraiture, not limited to the faces, but felt throughout poses 
<J> i and gestures. When Yvette Guilbert complained that Lautrec had caricatured 
^ her, the artist replied, "Ma chere, I don't detail you. I totalise you!" It is signifi- 
cant that he felt the need of just such striking simplification of pattern and 
colour as he found in Gauguin, and which confirmed his experience with t,he 
broad, flat areas of poster designing. 

The most important element in Gauguin's painting, the half-length Arlesienne, 
Lautrec at first suppressed. The large foreground figure which gives the 
Cafe de Nuit its asymmetrical balance was ignored in Au Moulin Rouge as the 
artist painted it in 1892. But soon afterward, perhaps in the next year or so, 
Lautrec returned to the composition, now dissatisfied with its original form. 
This was a period of his renewed interest in Japanese art which he found 
particularly fruitful for lithography. Prints and paintings by the masters of 
Ukiyo-e had been known in Paris since the 'sixties and had vastly influenced 
the Impressionists, particularly Degas and Manet. These painters had concen- 
trated on the novel linear arrangements and flattening of spaceja Oriental art. 
Such elements they blended with their own realistic vision, to accentuate the 
unusual angle and fleeting view of nature. Lautrec, who collected kakemonos 
and prints and who certainly knew~tHe~collections of Count Camondo, Bing, 
Vever and Rouart, was further drawn to the expressive side of Japanese art. 
Where an earlier generation had preferred Harunobu and Hpkusai, Lautrec 
was impressed by the portrait heads by Sharakku (fig. 5) with their amazing 
union of decoration and psychological power. Under the spell of Japan and 
probably conscious, too, that Au Moulin Rouge lacked the strong construction 
of Gauguin's Cafe de Nuit, he re-designed the whole composition of the picture 
and added a looming figure"' TrfT he left foreground, identified by Joyant, 
Lautrec's biographer, as "Mile. Nelly C . . ." (fig. 15). 

He first pieced the canvas adding lof inches at the bottom and 6 J inches at 
the right. Then he gained space on the other two sides by painting to the edges 
which had formerly been folded over the stretcher. This not only gave him 
more area round the central group but allowed him to adopt some of the 
traits of Easiern_persriecjive. In the final version, the diagonal of the balustrade 
is greatly lengthened and meets at sharp . angle certain lines of the floor only 
indicated in the original. The result of this meeting is to spread forth a fan-like 
movement from a point at the very bottom of the composition, radiating to 
the distant horizontals of the glass wall. So sensitive is Lautrec to the new 
movement that he re-designs the chair in the foreground, slanting it in terms 
of the diagonal. By pushing the main motif off-centre he is able to balance it 


6 Les Buveurs d' Absinthe, by DEGAS 



by the new figure, the enormous powdered mask and shoulders of Mile. Nelly 
in strange head-dress and leg-of-mutton sleeves. She is evidently portrayed as 
seated at another table, for the gaslight reflects in her face, modelled by Lautrec 
in shadows of a vivid green. 

The daring placing of this figure, cut by the frame at right and bottom, 
sets up an immediate interplay of forms which is highly arresting. Not only 
has space been suggested in an original fashion but a curious unbalanced 
balance results. The rather obvious intimacy of the first conception has been 
replaced by a new dynamic movement, and the flow of life which he always 
sought is completely realized. In the original version one could feel in the 
patterned blouse of La Macarona and in the peculiar hat of the central figure 
some reference to the brocades, kimonos and stylized coiffures of the Japanese. 
But in the large head and shoulders of the foreground dancer there is more 
than a hint of the surprising "close-up" effects of Sharakku. When we realize 
that Gauguin had employed his large Arlesienne for some of the same reasons 
we can appreciate Lautrec's further dependence on the Cafe de Nuit. 

The final version is a combination of psychological penetration and formal 
power rare in Lautrec's work. The incfrvTdual tfalts~~of~his models in this 
comedie inhumaine are well observed, and the interpky-ofLcharacter strikingly 
suggested. Though each face at the table is a sardonic portrait, the group 
as a whole gains from the impej^onality of thejofgground head, which becomes 
a symbol of the whole disenchanteolmoocF of the cabaret. Much more conscious- 
ly than usual, Lautree-rras^ivlHed theTurface of his canvas into broad areas of 
tone, lapping and overlapping a series of curved shapes, in which the outline 
is less linear than is customary. Again he has consulted the Orient in the way 
he has stressed a zig-zag rhythm of straight lines, playing against such curves. 

The strange colour gamut, which does so much to convey the overtones of 
the scene, is conscientiously studied. The costumes of the figures are carried 
out in a series of reddish browns and violets, varied from area to area, and 
forcibly contrasted with the tannish orange of the balustrade and the deader 
tan of the sloping floor. Notes of brilliant orange and red give animation to 
the entire surface and vibrate with the harsh green of the background. Here 
and there the artist has painted in a touch of black or deep, neutral blue, not 
only forcing the brighter colours but lending a bizarre xiecprative note to the 
entire pattern. 

Lautrec has avoided the rather casual movement which occurs in many of 
his more Impressionist canvases. Here the movement is of bigger forms, 
built in diagonal arrangement. The repeated shapes of the hats on Guibert, 


7 Le Cabaret de la Mere Anthony ', by RENOIR 

Sescau, Lautrec and de Celeyran not only lead the eye into space but carry 
the two last figures towards the left, and the opposing shapes of La Goulue 
and the dancer with upraised arms complement one another. Throughout, 
Lautrec varies and repeats a line or a quirk and sensitively gauges the intervals 
of his pattern. Over the whole picture he weaves a system of short, ornamental 
curves which foretells the rhythms of Art Nouveau^JdLlkese devices lead to 
unifying the various pictorial elements into a single effect. 

Most of the picture is painted in broad washes of colour, but in the back- 
ground the artist allowed himself a return to Impressionist ways of seeing. 
The glass walls shimmer with colour laid on in broken streaks of green and 
orange, lending variety to the simpler textures of the foreground. At one spot, 
Lautrec has swiftly touched in a suggestion of a waiter with a tray (fig. 16). 
This bit recalls the handling of Manet in his celebrated painting of Un Bar 
aux Folies Bergeres in the Tate Gallery, but Lautrec has replaced Manet's lovely 
and subtle colour with hues calculated to convey the trenchant overtones of 
Au Moulin Rouge. Now and again, he builds up forms in paint which suggests 
that he is also familiar with early works by Bonnard and Vuillard, who about 
ythis time began to exploit a new, exquisite handling of pigment. Lautrec's 
\ / broad dramatic lighting of the whole composition, however, has little to do 
with the closed, cloisonne effect of his young contemporaries. Nevertheless one 
should not underestimate Au Moulin Rouge as decoration or refuse to relate it 
to this important striving in fin de siecle art. } $66cu&/^-' 

There remains the question of the artist's attitude towards his extraordinary 
subjects. In the past Lautrec has suffered from two types of criticism. When 
his work first appeared it was judged as "decadent" and vigorously attacked 
or as vigorously defended on that ground. The painter of Au Moulin Rouge 
was called "perverse" or "satanic" because he dared to depict Parisian life at 
the close of the century in other than flattering terms. There was still lingering 
in France a tradition which insisted that art should embody a moral precepp 
and critics who followed Lautrec in his work through the cheap bars or 
maisons closes were horrified to find the facts of existence set down with such 
pitiless insight. Lautrec's unswerving realism in treating women of the period 
shocked them; there has long been a superstition of gallantry in French painting 
which "this little monster" clearly violated. On the other hand a different class 
of critics gloried in his "morbidity". Chiefly men of letters, they seized upon 
Lautrec's approach as illustrating in art what they themselves were advocating 
in literature. Gladly they related the details of his disorganized life and created 
a Lautrec legend of drunkenness and depravity. More recently, now that the 

8 Artiste in a Restaurant, by VAN GOGH 

artist's subjects have taken their place in the larger view of the period, there 
has been a somewhat unsuccessful attempt to connect with him the neo-classic 
strain in Gallic art. 

But a close examination of the artist reveals that Lautrec thought of himself 
as a realist. He had no use for the academic artificialities of his day; one of his 
most amusing parodies is a painted satire on the Bois Sacre of Puvis de Cha- 
vannes where the posturing gods and goddesses find their paradise invaded by 
a group of Lautrec's friends in street dress. Along with a batch of sketches sent 
to a friend when hewas only seventeen the boy wrote: "I have tried to make them 
real, not ideal". His enthusiasms were for Breughel, Cranach and Brouwer and 
in Spain he would stand for hours before the portraits of Goya and Velasquez. 

It has often been said that by associating himself with these "parasites" and 
"repulsive night birds", Lautrec surrendered the aristocratic traditions of the 
Counts of Toulouse. But in spite of mixing cocktails and preparing fantastic 
banquets for companions of the Moulin Rouge and Divan Japonais, he remains, 
in his art, curiously withdrawn. One couldjiot forget Albi entirely, even in the 
frenziedjiight life of Paris and part of Lautrecj? success is his objectivity 
towards^his material. "One^must knoweverything", he once remarked and 
as enthusiastically as his father rode to hounds, Henri-Marie-Raymond de 
Toulouse-Lautrec-Monfa stalked human character wherever it showed itself 
in its strangest, most flamboyant forms. In Au Moulin Rouge it is significant that 
Lautrec portrayed himself and his cousin as separated from the other habitues. 
They are not seated with them round the table, and in no painting does Lautrec 
inject himself into the centre of action. He stays outside, sharply observing. 

Lautrec, however, ended by casting a somewhat poetic brilliance over the 
life he so vastly enjoyed. There are photographs of La Goulue and her com- 
panions in existence. Study their faces and see that though the artist exaggerated 
the vices and weaknesses of his models, he endowed them at the same time with 
a curious elegance. As they drift across his canvas they are transformed by 
colour and movement until Paris night life takes on the character of a vast 
decorative screen. Though Lautrec, with his crippled body and monkey-like 
features may have looked like a dwarf by Velasquez, he was by no means a 
court jester. Rather he was always the nobleman, commanding entertainment 
from his troupe. Whatever personal concessions of kindness he made towards 
them were made in the spirit of noblesse oblige. 

Social historians, looking for the truth about Paris during the 'nineties, will not 
find it in Toulouse-Lautrec. For in Au Moulin Rouge he portrayed not life as it was, 
but as it might have been, a vision of ugliness touched with authentic glamour. 


9 L' 'Anglais au Moulin Rouge, by TOULOUSE-LAUTREC 





1 1 Detail of Au Moulin Rouge 

Detail of Au Moulin Rouge 


1 3 Detail of Au Moulin Rouge 

14 Detail of Au Moulin Rouge 


1 5 Detail of Au Moulin Rouge 

1 6 Detail of Au Moulin Rouge 



1 Au Moulin Rouge, by TOULOUSE-LAUTREC 

2 An bal du Moulin de la Galette, by TOULOUSE-LAUTREC 

3 La Serveuse de Bocks, by MANET 

4 Cafe de Nuit, by GAUGUIN 

5 Woodcut, by SHARAKKU 

6 Les Buveurs d' Absinthe, by DEGAS 

7 .L* Cabaret de la Mere Anthony, by RENOIR 

8 Artiste in a Restaurant, by VAN GOGH 

9 L.' Anglais au Moulin Rouge, by TOULOUSE-LAUTREC 

10 Au Moulin Rouge (first version), by TOULOUSE-LAUTREC 
11-17 Details of Au Moulin Rouge 


1 Courtesy of the ART INSTITUTE OF CHICAGO (Birch-Bartlett Collection) 

2 Courtesy of the ART INSTITUTE OF CHICAGO (Mr. and Mrs. L. L. Coburn Collection) 

3 Courtesy of the TATE GALLERY, LONDON 

4 Courtesy of M R . DAVID SCOTT-MONCRIEFF (Museum of Modern Western Art, Moscow) 

6 Courtesy of the MUSEE DU LOUVRE 

7 Courtesy of the ROYAL MUSEUM, STOCKHOLM 

8 Collection of V. W. Van Gogh, Amsterdam 

10 From a photograph taken in 1892 

Made and printed in Gnat Britain 


Each book analyses by word and picture a world-famous masterpiece. The painting is reproduced, 
also numerous details showing how the work is built up. 

Already published: 

VELAZQUEZ/THE ROKEBY VENUS (in the National Gallery, London) 

With an introduction by NEIL MACLAREN 

MANET/UN BAR AUX FOLIES-BERGERE (in the National Gallery, London) 

With an introduction by RAYMOND MORTIMER 

EL GRECO/THE PURIFICATION OF THE TEMPLE (in the National Gallery, London) 

With an introduction by ENRIQUETA HARRIS 

UCCELLO/THE ROUT OF SAN ROMANO (in the National Gallery, London) 

With an introduction by JOHN POPB-HENNHSSY 

CONSTABLE/THE HAY WAIN (in the National Gallery, London) 

With an introduction by SIR KENNETH CLARK 

RENOIR/LES PARAPLUIES (in the National Gallery, London) 

With an introduction by CLIVE BELL 

TITIAN/EUROPA (in the Gardner Museum, Boston, Mass.) 

With an introduction by STUART PRESTON 


With an introduction by SIMON HARCOURT-SMITH 

SEURAT/UNE BAIGNADE, ASNlfiRES (in the Tate Gallery, London) 

With an introduction by DOUGLAS COOPER 

BRUEGEL/THE DULLE G'RIET (m the Mayer van den Bergh Museum, Antwerp) 

With an introduction by LEO VAN PUYVELDE 

RUBENS/THE CHATEAU DE STEEN (in the National Gallery, London) 

With an introduction by NEIL MACLAREN 

VERMEER/LADY AT THE VIRGINALS (in the Royal Collection, London) 

With an introduction by BENEDICT NICOLSON 

DAUMIER/THIRD CLASS. R AIL WA~Y CARRIAGE {in the Metropolitan Museum of Art, New 

With an introduction by S. L. FAISON, JR. 

WATTEAU/LES CHARMES DE LA VIE (in the Wallace Collection, London) 

With an introduction by DENYS SUTTON 

BOTTICELLI/THE NATIVITY (in the National Gallery, London) 

With an introduction by JOHN POPE-HENNESSY 


With an introduction by THOMAS BODKIN 

VAN GOGH/THE POTATO EATERS (in the V. W. van Gogh Collection, Amsterdam) 

With an introduction by J. G. VAN GELDER 

HANS HOLBEIN/THE AMBASSADORS (in the National Gallery, London) 

With an introduction by G. H. VILLIERS 

MABUSE/THE ADORATION OF THE KINGS (in the National Gallery, London) 

With an introduction by MAX J. FRIEDLANDER 


"The first two 'Gallery Books' whet the appetite for more. Students will welcome and admid 
thoroughness and historical accuracy and particularly the references to related works with \J 
the pictures are discussed, and for the general reader there could be nothing better than an exhaus! 
analysis of a single work by a great artist which at the same time throws light on his work and charactl 
in general. In each case the extension from the particular to the general is quite remarkable." 
Uterary Supplement. 

''All of the photographs are admirably printed." The Scotsman. 

ND Rich, Daniel Catton 

Henri de Toulouse-Lautrec; 
T7R5 "Au Moulin Rouge". C 19 -,