The early Toulouse Lautrec paintings were drawn at a young age. Their favourite juvenile subject was the horse, as seen in the sketch of Two Riders on Horseback. This was probably a result of the influence from his first teacher, Rene Princeteau, a close family deaf mute friend, who painted fashionable sporting pictures.
In one of the Toulouse Lautrec paintings, known as The Streetwalker, Toulouse used oil thinned with turpentine on cardboard. This rendered visible his loose, sketchy brushwork. The transposition of this creature of the night to the bright light of day signalled Toulouse’s fascination with sordid and dissolute subjects.
Divan Japonais was among the Toulouse Lautrec paintings featuring Toulouse’s favourite cafe concert stars Yvette Guilbert and Jane Avril. Yvette was known as a diseuse or speaker for the way she half-sung, half spoke her songs during performances. She had bright red hair, thin lips, a tall gaunt physique and wore black elbow-length gloves.
Gustave Courbet paintings challenged convention by rendering scenes from daily life on a large scale previously reserved for historical paintings. These works included The Stonebreakers and A Burial at Omans. Omans was Gustave’s native village in the Franche-Comte in eastern France and it was where this group of paintings was set.
One of Gustave Courbet paintings on monumental canvas, The Painter’s Studio : A Real Allegory Summing Up a Seven Year Phase of my Artistic Life, was rejected by the Exposition Universelle jury in 1855. As a retaliation, Gustave mounted his own exhibition of more than forty works in his Pavilion of Realism, built within sight of the official venue.
During the 1850s, Gustave Courbet paintings went beyond the Omans subjects in their embrace of modernity. They captured the cafe culture of bohemian Paris through portraits of its denizens and works inspired by popular cafe songs. They also featured hunting scenes that brought Gustave critical and popular success.
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