- Henri de Toulouse-Lautrec
- 款識: 畫家簽名於封面，每幅畫均帶出版商專門用印(Lugt 1190) 並署明Series 38字樣
- 每頁尺寸: 20½ x 15¾英寸
- 52.1 x 40公分
讓．阿德赫馬爾， 《土魯斯-羅特列克：石版畫及蝕刻畫作品全集 》， 紐約， 1975年， 品號200-210，圖版頁收錄另一版本
沃夫岡．惠特若克，《土魯斯-羅特列克：版畫印刷作品全集》， 倫敦， 1985年，品號155-165，收錄另一版本，圖版頁376-399
格茲．阿德瑞亞尼，《土魯斯-羅特列克所有繪畫作品專題目錄》， 科隆， 1986年， 第171-181頁，收錄另一版本，圖版 頁222-243
理查．湯姆森， 菲力普．丹尼斯．凱特， 瑪莉．薇佛．查本與佛羅倫斯．E.．考曼，《土魯斯-羅特列克與蒙瑪特》（展覽圖錄）， 華盛頓特區美國國家藝術館與芝加哥藝術館， 2005年，收錄另一版本，圖版頁229-235
As a chronicler of the café culture and the night life in turn-of-the-century Paris, Toulouse-Lautrec had no rivals. Born into an aristocratic French family in 1864, Lautrec spent much of his life among the Parisian demi-monde, revealing his genius in sharp, analytical portrayals of the twilight world of the fin-de-siècle Paris. A brilliant interpreter of this lively and debauched world, Lautrec did not limit himself – as so many of his contemporaries had done – to social critique. Whether it was the quick sketch of a face, the curving lines of a group of dancers, a scene in a café, at the Théâtre des Variétés or in a maison close, he succeeded in capturing the timeless humanity that lay beneath the illusory façades of his subjects.
Between the years of 1892 and 1895, Lautrec was a regular visitor to the maisons closes (brothels) of the rue des Moulins, the rue d'Ambroise and the rue Joubert, observing, sketching, and often living with the prostitutes for weeks at a time. Lautrec devoted Elles, an entire suite of prints to his experience at the brothels, seeking to portray them without the morality or overt eroticism common in other artists' depictions of similar subjects. Rather, he showed his subjects engaged in the everyday activities of grooming, bathing, dressing and sleeping. The one print that is an exception of the general, anonymous tone of the portfolio, and the only image which does not depict a prostitute, is the portrait of Cha-u-ka-o, a dancer (La Clownesse assise). Known for her acrobatic versions of erotic dances, Cha-u-ka-o is linked to the other subjects of the portfoilo as a practitioner of a form of popular entertainment frowned upon, but often patronized by the upper classes.
Executed in 1896 and published in an edition of 100 the same year, this portfolio is widely regarded as the artist's definitive work from this period, and one of the pinnacles of color lithography. Among the most prolific lithographers of the nineteenth century, Lautrec regarded this medium as a primary means of artisitc expression in that it afforded him a greater flexibility and control than other graphic media. In these superb examples, Lautrec has combined the evocative and powerful primacy of line, the use of broad planes of color (derived from the immensely popular and influential Japanese woodblock prints) with original compositional designs and his extraordinary command of the technique. Often, bright colors are defused by splatterwork which promotes a more painterly approach to lithography. To achieve these textural effects, Lautrec used a toothbrush for the splatterwork, as well as the conventional lithographic crayons and fine brushes for the lines and detail work. The Elles suite highlights not only Lautrec's mastery of color lithography, but also his exploration of color, line, texture and paper. Please note that Femme qui se lave – La Toilette (Delteil 184) is lacking from the current portfolio.