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People who knew him as Thadée Natanson, describe him as a person with large and beautiful eyes, a considerable bust, short and crooked legs, huge hands on disproportionate arms that always held a small cane. Toulouse-Lautrec liked the atmosphere of the brothel, the temporary unions, the disputes, the rivalries, the suspicions, the reconciliations, that particular and intense environment.
She observed, drew and painted without interfering in moments of intimacy, in this feminine world where mutual support and tenderness prevailed, in a space where men were excluded. He knew how to capture and express the vibration of the moment, spontaneity and movement. Toulouse-Lautrec, a person of great sensitivity, felt at ease in this world of the cabaret, of the entertainment nightclubs, he felt welcomed and accepted, in a universe far removed from his noble origins.
She observed the women who became her friends and immortalized them in individual or group portraits, going about their daily tasks, resting, doing laundry, going to the doctor or receiving a visit from a client. These were often sketches made on site and completed in the workshop. In these works there is no judgement, empathy prevails for the women portrayed, she expresses her great sympathy and they are works that lack the irony or cynicism with which she could portray other heterosexual couples.
In this, the influence of Japanese prints, which Toulouse knew well, is very evident due to the approach of the diagonal in the composition. She was directly in charge of his education, which generated a special dependency relationship. Running away from this mother led him to take refuge in the arms of the women of the brothel and likewise dissatisfaction and emptiness led him to drink, although he drank when he was not painting or drawing, and he did not work when he was drunk.
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