About this artwork
This portrait of Henri Gabriel Ibels was made by Henri de Toulouse-Lautrec, a leading figure in the Parisian art scene of the late 19th century. Toulouse-Lautrec, born into aristocracy but an outsider due to physical disabilities, found kinship with others on the margins of society. Ibels, who was nicknamed "Nabi journalist," and Toulouse-Lautrec were both part of the artistic group Les Nabis, who were interested in Japanese art and abstraction. This portrait, made with pastel on cardboard, gives us a sense of Ibels's character as an artist and social commentator of the time. Toulouse-Lautrec’s art often depicted the working class and marginalized communities of Montmartre, capturing the energy of cabaret culture. The sketch-like quality of this portrait mirrors the changing, gritty nature of Paris and the lives of those who occupied it. It's an intimate portrayal of a friend, but also an insight into a society undergoing rapid change.
Artwork details
- Medium
- drawing, coloured-pencil
- Location
- Private Collection
- Copyright
- Public domain
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About this artwork
This portrait of Henri Gabriel Ibels was made by Henri de Toulouse-Lautrec, a leading figure in the Parisian art scene of the late 19th century. Toulouse-Lautrec, born into aristocracy but an outsider due to physical disabilities, found kinship with others on the margins of society. Ibels, who was nicknamed "Nabi journalist," and Toulouse-Lautrec were both part of the artistic group Les Nabis, who were interested in Japanese art and abstraction. This portrait, made with pastel on cardboard, gives us a sense of Ibels's character as an artist and social commentator of the time. Toulouse-Lautrec’s art often depicted the working class and marginalized communities of Montmartre, capturing the energy of cabaret culture. The sketch-like quality of this portrait mirrors the changing, gritty nature of Paris and the lives of those who occupied it. It's an intimate portrayal of a friend, but also an insight into a society undergoing rapid change.
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