Anna Held from Portraits of Actors and Actresses: Thirteen Lithographs (Portraits d'Acteurs & Actrices: Treize Lithographies)

Anna Held from Portraits of Actors and Actresses: Thirteen Lithographs (Portraits d'Acteurs & Actrices: Treize Lithographies) by Henri de Toulouse-Lautrec is a definitive example of the artist's dedication to documenting fin-de-siècle Parisian theatrical society. Created in 1898, this piece is one of thirteen lithographs comprising a specialized portfolio dedicated to leading performers of the era. The choice of lithography as a medium allowed Toulouse-Lautrec to translate the rapid, expressive lines characteristic of his drawing style directly onto the stone, producing high-quality prints that captured the immediacy and personality of his subjects.

The subject, Anna Held (1872-1918), was a Polish stage performer and singer who achieved significant fame across Europe and America, known for her captivating charm and often provocative stage presence. Toulouse-Lautrec specialized in these candid, intimate portraits of celebrities, deliberately avoiding the formality of traditional studio portraiture to instead capture the psychological essence of his sitters. This prolific French artist masterfully used the spare quality of the print medium, often leaving large portions of the paper unworked, compelling the viewer's attention onto the figure's posture and facial expression. Such works provide invaluable documentation of the volatile and exciting late 19th-century entertainment culture in which the artist operated.

This specific lithograph illustrates Toulouse-Lautrec’s commitment to capturing ephemeral fame and singular character, often focusing on the life behind the stage lights rather than the public persona. As a collection of prints produced in limited editions, the portfolio Portraits of Actors and Actresses holds high art historical importance in the development of modern graphic art. This notable work is held in the collection of the Museum of Modern Art (MoMA), ensuring its preservation and availability for study. Many such historical prints from the 1898 period, once reserved for private collectors, now inform the general public’s understanding of this foundational modern master.