The Hippo


Jun 26, 2019








Focus tours 

Two focus tours will be held on Sunday, Oct. 22, and Saturday, Oct. 28, at 11:30 a.m. Regular museum admission plus a $5 special exhibition fee applies. 
Free Lautrec Late Nights 
On select Thursday evenings the exhibition will be open late hours from 5 to 9 p.m., and will feature special activities. The cost to see the exhibition is $5; general admission to the museum and activities on these nights is free. 
Oct. 19: Focus tour of the exhibition; art-making activity; Moulin Rouge (1952) film screening (6:30 p.m.)
Oct. 26: Theatre KAPOW one-act farces; New Hampshire Institute of Art creative writing students reading; printmaking demonstration 
Nov. 9: Focus tour of the exhibition; art-making activity; French Cancan (1955) film screening (6:30 p.m.)
Nov. 16: Yoga Balance gallery meditation (registration required); adult coloring; music; mindful tours; specialty cocktails 
Dec. 14: Drawing workshop; specialty cocktails; Moulin Rouge (2001) film screening (6:30 p.m.) 
“The Paris of Toulouse-Lautrec” 
Where: The Currier Museum of Art, 150 Ash St., Manchester 
When: Now through Jan. 7, 2018; gallery hours are Sunday, Monday and Wednesday through Friday from 11 a.m. to 5 p.m., and Saturday from 10 a.m. to 5 p.m. 
Cost: Regular museum admission ($15 for adults, $13 for seniors 65+, $10 for students, $5 for youth ages 13 through 17), plus a $5 special exhibition fee
More info:, 669-6144

Painting Paris
Exhibition features French painter Henri de Toulouse-Lautrec

By Angie Sykeny

 The decadence, eccentricity and intrigue of 19th-century Paris is captured in the Currier Museum of Art’s newest exhibition, “The Paris of Toulouse-Lautrec: Prints and Posters From The Museum of Modern Art.”

More than 100 posters, prints and illustrated books composed by French painter Henri de Toulouse-Lautrec are featured in the show, which is on view now through Jan. 7, 2018.
Lautrec lived from 1864 to 1901 and is best known for his innovative commercial images advertising the nightlife establishments and entertainers in Paris at the time, and for his work depicting the culture surrounding Paris’ parks, restaurants and cafes. 
“[His art] tells us so much about that time. He captured it so well, and in such an interesting and inventive way,” exhibition curator Samantha Cataldo said. “I think that’s why people are still so interested in his work. That’s why you still see his prints hung up in college dorm rooms. Even more than 120 years later, they’re still great images.” 
The collection is drawn from the Museum of Modern Art in New York City and is one of the most comprehensive collections of his work ever assembled for public viewing. Because they are light-sensitive, many of the pieces have rarely been seen. 
The gallery is roughly divided into six thematic sections of Lautrec’s work: the artist’s life, cafe concert scenes, portrayals of famous performers, images of women, the pleasures of Paris and illustrations done alongside composers, editors, playwrights and other creative people. 
One of the highlights of the collection is Moulin Rouge, La Goulue, painted in 1891, which was Lautrec’s first major poster. It was created as an advertisement for the popular nightclub Moulin Rouge and shows can-can dancer La Goulue, clad in a strikingly white petticoat, behind her partner, the silhouetted Valentine le désossé. 
“People loved it. He more or less became a celebrity overnight,” Cataldo said. “It was such a strong poster and such a big deal that it became an iconic image for both [Lautrec’s] body of work and for that time in Paris.” 
Another notable work in the show is Aristide Bruant in His Cabaret, painted in 1893, which was an advertisement for a concert at the Ambassadeurs night club featuring the singer Aristide Bruant. The image is that of the singer dressed in black, with a black hat and his trademark bright red scarf. 
“It’s so bold, yet radically simple with the blocks of color and economy of lines [used to] create the shape and form,” Cataldo said. “His simplified forms approached caricature, but they always went far beyond that. The people of the time could tell immediately who was in the painting because he knew how to capture what the [subject’s] signature features were.” 
Lautrec is cited as a major influence for many artists who came after him, Cataldo said, particularly in the realm of advertising imagery. 
“Advertising needs bold images that catch your eye quickly. They have to stand out on the street, and his work really did that,” she said. “He was one of the first artists who knew how to do that, and I think that’s why his art has endured.” 
The exhibition is accompanied by a series of special events at the museum featuring focus tours, plays, poetry, art demonstrations and a film series exploring some of the many cinematic portrayals of Lautrec and his subjects. 

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