At the Moulin Rouge, the Dance is an oil-on-canvas painted by French artist Henri de Toulouse-Lautrec. It was painted in 1890, and is the second of a number of graphic paintings by Toulouse-Lautrec depicting the Moulin Rouge cabaret built in Paris in 1889. It portrays two dancers dancing the can-can in the middle of the crowded dance hall. A recently discovered inscription by Toulouse-Lautrec on the back of the painting reads: “The instruction of the new ones by Valentine the Boneless.” This means that the man to the left of the woman dancing, is Valentin le désossé, a well-known dancer at the Moulin Rouge, and he is teaching the newest addition to the cabaret. To the right, is a mysterious aristocratic woman in pink. The background also features many aristocratic people such as poet Edward Yeats, the club owner and even Toulouse-Lautrec’s father. The work is currently displayed at the Philadelphia Museum of Art.
The Boy in the Red Vest (Le Garçon au gilet rouge), also known as The Boy in the Red Waistcoat, is a painting (Venturi 681) by Paul Cézanne, painted in 1889 or 1890. It is a fine example of Cézanne’s skilled, nuanced, and innovative mature work after 1880.
Cézanne painted four oil portraits of this Italian boy in the red vest, all in different poses, which allowed him to study the relationship between the figure and space. The most famous of the four, and the one commonly referred to by this title, is the one which depicts the boy in a melancholic seated pose with his elbow on a table and his head cradled in his hand. It is currently held in Zürich, Switzerland. The other three portraits, of different poses, are in museums in the US.
Bathers at Asnières (French: Une Baignade, Asnières) is an 1884 oil-on-canvas painting by the French artist Georges Pierre Seurat, the first of his two masterpieces on the monumental scale. The canvas is of a suburban, placid Parisian riverside scene. Isolated figures, with their clothes piled sculpturally on the riverbank, together with trees, austere boundary walls and buildings, and the River Seine are presented in a formal layout. A combination of complex brushstroke techniques, and a meticulous application of contemporary colour theory bring to the composition a sense of gentle vibrancy and timelessness.
Seurat completed the painting of Bathers at Asnières in 1884, when he was twenty-four years old. He applied to the jury of the Salon of the same year to have the work exhibited there, but the jury rejected it. The Bathers continued to puzzle many of Seurat’s contemporaries, and the picture was not widely acclaimed until many years after the death of the artist at the age of just thirty-one. An appreciation of the painting’s merits grew during the twentieth century, and today it hangs in the National Gallery, London, where it is considered one of the highlights of the gallery’s collection of paintings.
Henri Émile Benoît Matisse 31 December 1869 – 3 November 1954) was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.
Café Terrace at Night is an 1888 oil painting by the Dutch artist Vincent van Gogh. It is also known as The Cafe Terrace on the Place du Forum, and, when first exhibited in 1891, was entitled Coffeehouse, in the evening (Café, le soir).
Van Gogh painted Café Terrace at Night in Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters.
Visitors to the site can stand at the northeastern corner of the Place du Forum, where the artist set up his easel. The site was refurbished in 1990 and 1991 to replicate van Gogh’s painting. He looked south towards the artificially lit terrace of the popular coffee house, as well as into the enforced darkness of the rue du Palais which led up to a building structure (to the left, not pictured) and, beyond this structure, the tower of a former church which is now Musée Lapidaire.
Towards the right, Van Gogh indicated a lighted shop as well and some branches of the trees surrounding the place, but he omitted the remainders of the Roman monuments just beside this little shop.
The painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands.