Wikipedia

Portrait of Toulouse Lautrec, in Villeneuve-sur-Yonne, with the Natansons

(Redirected from Toulouse-Lautrec Cooking)

Portrait of Toulouse Lautrec, in Villeneuve-sur-Yonne, with the Natansons, sometimes referred to as Toulouse-Lautrec Cooking, is an 1898 painting by French artist Édouard Vuillard. The work depicts fellow artist Henri de Toulouse-Lautrec on holiday cooking in the kitchen at Les Relais, the country home of Vuillard's patron Thadée Natanson in Villeneuve-sur-Yonne. The painting is held by the Musée Toulouse-Lautrec, in Albi.[1]

Portrait of Toulouse Lautrec, in Villeneuve-sur-Yonne, with the Natansons
Toulouse-Lautrec Cooking
ArtistÉdouard Vuillard Edit this on Wikidata
Year1898
Mediumoil paint, cardboard
Dimensions39 cm (15 in) × 30 cm (12 in)
LocationMusée Toulouse-Lautrec
[edit on Wikidata]

Background

edit

In the 1890s, French artist Édouard Vuillard (1868–1940) actively produced work while on holiday in the French countryside, known as his villégiature period. The villégiature, or holiday, typically involved Parisians like Vuillard leaving the city in the summer and taking vacation in the countryside with close friends and family, but unlike a tourist vacation involving activities made famous by the work of an artist like Claude Monet, the type of paintings Vuillard made during a villégiature were characterized by rest, tranquility, and the absence of novelty, focusing on the customary, allowing Vuillard to produce many landscapes and interiors in the countryside.[2]

In 1891, playwright and writer Pierre Veber (1869–1942) introduced Vuillard to his patron Thadée Natanson, who along with his brother Alfred, ran La Revue Blanche, the leading art and literary magazine of its time.[3] That same year, Vuillard began exhibiting his work at the offices of the magazine, attracting the attention of the avant-garde and critical approval.[4] In 1893, Thadée Natanson married Misia Godebska (1872–1950), and together they extended the reach of the magazine into a salon in their various homes, which Vuillard would document in his own work (Salon Natanson, 1897). With Vuillard and Lautrec as regular guests, the Natanson's circle included Pierre Bonnard, Felix Vallotton, and the post-Impressionists known as the Nabis.[5]

Vuillard and fellow artist Henri de Toulouse-Lautrec (1864–1901) first met each other sometime in the early 1890s due to their association with La Revue Blanche,[6] with Lautrec first contributing artwork to the magazine in 1894.[7] That same year, Vuillard received a decorative arts commission from Alexandre Natanson for installation in his home, requiring him to produce nine panels of scenes depicting French parks.[4] By 1896, Vuillard and Lautrec both began making visits to the Natanson's La Grangette estate in Valvins. The next year, the Natansons rented Les Relais, a country estate in Villeneuve-sur-Yonne, where Vuillard and Lautrec continued their previous villégiature tradition from La Grangette. Misia, Thadée's young wife, was said to have been Vuillard's muse, a subject for many of his works, and a love that was unrequited and never consummated.[2] Lautrec was also fond of Misia and showed her great affection, and painted her frequently along with Vuillard.[7]

Description

edit

Lautrec is depicted in a rare state of sobriety, having temporarily given up drinking during a brief vacation to devote himself to cooking at Les Relais, the country home of the Natansons.[1] His clothing, complete with a grey felt hat,[8] yellow oilskin rain pants, red shirt and kerchief,[9] appears to be rain gear, as a large storm occurred on the day of the painting.[1] In the painting, Lautrec appears to be cooking a lobster dish, possibly homard à l'américaine.[8] Within the Natanson household, Lautrec was remembered for preparing lobster in the kitchen at Les Relais.[1] As a huge fan of seafood, lobster was said to have been Lautrec's favorite dish.[7]

Rehabilitation attempt

edit
 
Les Relais (1906)

The Natansons attempted to help Lautrec address his visible and ongoing struggle with alcoholism by providing a non-drinking environment for him at Les Relais for convalescence.[9] There are reports of Lautrec going through alcohol withdrawal at Les Relais, with his behavior displaying signs of delirium tremens. In one reported incident, Lautrec experienced hallucinations causing him to see spiders crawling inside the Natanson's house. Responding to what he thought was an arachnid attack, Lautrec discharged his firearm in self-defense.[10]

Lautrec and the culinary arts

edit

Like Claude Monet, Lautrec was known for his visual artistry and for his cooking. Culinary historian Alexandra Leaf highlights Monet and Lautrec as the two "most serious gourmets" among their peers. Lautrec's love for cooking stemmed from his family upbringing and early childhood where he first learned the importance of culinary values.[11]

These values would eventually lead to Lautrec combining the visual and culinary arts together, usually as a formal celebration of the release of new artworks, resulting in the most legendary parties for which he designed the menu (which were often artworks in themselves), bought and prepared the food, and created and often invented entirely new cocktails. Lautrec's most famous party, held at the Natanson's Parisian house in February 1895, is often regarded as one of the most notorious parties in art history. 300 guests were invited, with 2,000 cocktails claiming to have been served, all accompanied by side dishes of gourmet food, with Lautrec working diligently as the sole chef and bartender, dressed in a white linen jacket, complete with a freshly shaved bald head and no beard. Ironically, by the end of the night, Lautrec appeared to be the only one still awake and sober.[12][11]

Lautrec was part of a group of gourmands, initially formed by Gustave Geffroy (1855–1926), the historian of the Impressionists, and Claude Monet, who met up every Friday night for dinner at Drouant, a restaurant in the Palais Garnier neighborhood.[8] After Lautrec's death, his close friend Maurice Joyant published Lautrec's collection of recipes in the book La Cuisine de Monsieur Momo, Célibataire (1930), along with a color book frontispiece of Toulouse Lautrec Cooking by Vuillard.[8] It was revised in 1966 as L'art de la cuisine. The cookbook features 150 recipes, many of which were Lautrec's signature dishes, such as "Catalan salad". Art historian Charles Stuckey describes it as the first cookbook ever published by an artist, albeit posthumously.[13]

Influences

edit

Art historians believe Vuillard's Toulouse-Lautrec Cooking was influenced by the work of Diego Velázquez (1599–1660), particularly his series of portrait work featuring people with dwarfism; the seventeenth century genre painting of the Bamboccianti, characterized by everyday peasant subjects such as people preparing food; and the work of French realist Théodule Ribot (1823–1891), who was known for painting kitchens and cooks.[1]

Provenance

edit

The painting was donated by Lautrec's close friend and art dealer Maurice Joyant (1864-1930) to the Musée Toulouse-Lautrec in 1914 and first exhibited in 1931.[1] The title is often shortened to Toulouse-Loutrec Cooking in the literature.[14]

edit
  •  
    Vallotton at the Natanson's (1897) by Édouard Vuillard
  •  
    Misia in Villeneuve-sur-Yonne (1898) by Édouard Vuillard
  •  
    Profile of Toulouse-Lautrec (1898) by Édouard Vuillard
  •  
    Misia and Vallotton at Villeneuve (1899) by Édouard Vuillard

References

edit
  1. ^ a b c d e f Salomon, Antoine; Cogeval, Guy (2003). Vuillard: The Inexhaustible Glance: Critical Catalogue of Paintings and Pastels. Volume 1. Skira. pp. 504-505. ISBN 8884911192. OCLC 218543633.
  2. ^ a b Cogeval, Guy; Jones, Kimberly (2003). Edouard Vuillard. National Gallery of Art. pp. 157, 206, 439-458. ISBN 0894682970. OCLC 50745163.
  3. ^ Warnod, Jeanine (1989). E. Vuillard. Crown Publishers. pp. 23-37. ISBN 9780517572771. OCLC 19126088.
  4. ^ a b Ritchie, Andrew Carnduff Ritchie (1954). Édouard Vuillard Archived 14 May 2024 at the Wayback Machine. Museum of Modern Art in collaboration with the Cleveland Museum of Art. p. 96. OCLC 1022848575.
  5. ^ Castleman, Riva; Wittrock, Wolfgang (Eds.) (1985). Henri de Toulouse-Lautrec: Images of the 1890's Archived 17 January 2024 at the Wayback Machine. Museum of Modern Art. p. 238.ISBN 0870705970. OCLC 1046037073.
  6. ^ Russell, John (1971). Vuillard. New York Graphic Society. pp. 102-105. ISBN 0821202812. OCLC 1036905394.
  7. ^ a b c Naudin, Jean-Bernard; Diego-Dortignac, Geneviève; Daguin, André (1993). Toulouse-Lautrec's Table (1st US ed). Random House. pp. 82, 87, 92.ISBN 9780679426783. OCLC 1392034757.
  8. ^ a b c d Mack, Gerstle (1953)[1938]. Toulouse-Lautrec. New York: A.A. Knopf. pp. 158-159. OCLC 508424882.
    • Joyant, Maurice (1930). La Cuisine de Monsieur Momo, Célibataire. Editions Pellet. OCLC 270994595.
    • Natanson, Thadée (1951). "Toulouse-Lautrec: The Man". Art News Annual. 20: 77-85. OCLC 037313.
  9. ^ a b Frey, Julia (1994). Toulouse-Lautrec: A Life. New York: Viking. p. 2, 431. ISBN 067080844X. OCLC 30543728.
  10. ^ Sugana, G. M. (1987)[1969]. The Complete Paintings of Toulouse-Lautrec. Penguin Books. p. 84. OCLC 1148609392.
  11. ^ a b Leaf, Alexandra (1994). The Impressionists' Table: Gastronomy & Recipes of 19th-century France. New York: Rizzoli. pp. 7, 21-23. ISBN 0847818373. OCLC 1035682858.
  12. ^ O'Connor, Patrick (1991). Toulouse-Lautrec: The Nightlife of Paris. Phaidon. p. 9. OCLC 681059257.
  13. ^ Sooke, Alastair (July 28, 2014). "How to cook like Henri Toulouse-Lautrec" Archived 3 March 2021 at the Wayback Machine. BBC. Culture. Retrieved August 21, 2024.
  14. ^ Wright, Christopher. (1992). The World's Master Paintings: From the Early Renaissance to the Present Day. Routledge. p. 830. ISBN 0415022401. OCLC 1414669731.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Portrait_of_Toulouse_Lautrec,_in_Villeneuve-sur-Yonne,_with_the_Natansons&oldid=1243721232"