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In the Salon on the street de Moulins - Henri de Toulouse-Lautrec. 111.5x132.5
The existence of brothels in 19th-century France provoked a heated debate between those who defended them and those who demanded their closure. He simply depicted the reality in which the inhabitants of these houses lived and worked. The artist often visits brothels, and especially this one, on the street de Moulins.
Somewhere from 1893-1894 he feels at home there. Some of the artist’s acquaintances hardly restrain themselves from poisonous hints that Lautrec found his second family in the neighborhoods of tolerance. Henry always has his work tools with him. Often, right in a brothel, he could be caught performing small sketches. He usually finished his paintings in the studio, and then they almost never left her. To those who persuaded him to present them in public, he usually answered: Never! Everyone will decide that I want a scandal.
Painting In the Salon on the street de Moulins - one of the best images of the world of brothels.
On it is one of Lautrec’s favorite motives: waiting for customers. The absence of men allows the artist to concentrate on psychology. The calm and even indifferent atmosphere emphasizes the specifics of the everyday existence of these women.
The careless position of the priestess of love in the foreground expresses her complete indifference to everything in the world. Sitting next to her, a woman in a pink peignoir looks down with undisguised longing. Spacious sofas in the color of a withered rose and elaborate architectural details in the background only emphasize the impression of boredom reigning in the room.
Lautrec deliberately creates a contrast between the deeply hidden personality of each of the women and their occupation, turning them simply into a soulless commodity. The artist sought to reveal the human that he saw in his models.