In a tangerine-colored dress, Jane Avril performs a high kick, her arms lost among the voluptuous ruffles. Peeking out from beneath her petticoat, her toe points to a double-bass player. The neck of the instrument frames the poster. In contract to the rooted musician, Avril appears birdlike in her frenzied movements. Yet her expression is one of sadness or exhaustion, at odds with the glamorous nightclub setting.
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Signed on stone, lower center, in image: "T-Lautrec" and "83"; signed on stone, lower left, in image: "T-L" (artist's monogram in circle); inscribed on stone, upper center, in image: "Jane Avril"; inscribed on stone, lower left, below image: "IMP.CHAIX.20.Rue BergérePARIS-ENCRES LORILLEUX"; inscribed on stone, lower center, in image: "Depot Chez Kleinmann / 8, Rue de la Victoire"
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Loys Deteil, H. de Toulouse-Lautrec (Paris, 1920), n.p., no. 345 (ill.).
Merete Bodelsen, Toulouse-Lautrec’s Posters: Catalogue and Comments (Copenhagen, 1964), p. 9 (ill.).
Jean Adhémar, Toulouse-Lautrec: His Complete Lithographs and Drypoints (New York, 1965), n.p., pl. 12.
Wolfgang Wittrock,Toulouse-Lautrec: The Complete Prints, edited and translated by Catherine E. Kuehn II (London, 1985), pp. 766-767, no. p6 (ill.).
The Art Institute of Chicago, “Paintings by Toulouse-Lautrec,” October 4-December 2, 1979, checklist 62.
Washington, D.C., National Gallery of Art, and The Art Institute of Chicago, Toulouse-Lautrec and Monmartre, 2005, p. 166, fig. 175; shown in Washington, D.C., The National Gallery of Art, March 20-June 12, 2005, and The Art Institute of Chicago, July 16-October 10, 2005.
The Art Institute of Chicago, “Becoming Edvard Munch: Influence, Anxiety and Myth”, February 14-April 26, 2009, pp. 128-129, fig. 134, cat. by Jay A. Clarke
Given by Carter H. Harrison (1860-1953), Chicago, to the Art Institute, 1949.
Delteil 345 II
Duvigneau, Götz 12
Bodelsen p. 9
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