  About the Artwork
  
  
  Toulouse-Lautrec was from an aristocratic family, but he spent his adult life among the common people of Montmartre, and its cafés, cabarets, dance halls, and theater were the subjects of his art. In 1895 he became enthralled with Marcelle Lender, the star of the comic opera Chilpéric, in which she wore a headdress with two giant red poppies. He is said to have attended the show 20 nights in a row to watch her dance the bolero. Lender became the subject of several lithographs by Lautrec. Here he depicts her in mid-performance, her mouth open in song as she leans towards her audience. The focus on Lender’s head and shoulders points to the influence of nineteenth-century Japanese woodblock portraits of famous kabuki performers that had been recently imported into France. This technically difficult lithograph, which required eight stones, one for each exquisite color, exemplifies Lautrec’s mastery of the medium.
From Bulletin of the Detroit Institute of Arts 89 (2015)
  
  
  Title
  Mademoiselle Marcelle Lender, en buste
  
  
  Artwork Date
  1895
  
  Artist
  Henri Marie Raymond de Toulouse-Lautrec
  
  
  
  Life Dates
  1864-1901
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  French
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Lithograph printed in color ink on cream wove paper
  
  
  Dimensions
  Image: 13 × 9 3/4 inches (33 × 24.8 cm)
  Sheet: 14 1/2 × 11 inches (36.8 × 27.9 cm)
  
  
  Classification
  Prints
  
  
  Department
  Prints, Drawings &amp; Photographs
  
  
  Credit
  Museum Purchase, Graphic Arts Council Purchase Fund
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  2007.149
  
  
  Copyright
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