Rosmersholm; Le Gage

The artwork Rosmersholm; Le Gage by Henri de Toulouse-Lautrec, created in 1898, is a significant example of French graphic arts from the end of the 19th century. This specific impression is a lithograph executed in black on delicate china paper, distinguished further as a proof before letters, indicating it was pulled before the addition of any descriptive text or publication information. The technique reveals the artist’s mastery of the medium, utilizing the distinctive textures and tonal range achievable through printing processes popular during the period of 1876 to 1900.

Toulouse-Lautrec was a critical observer of Parisian life, known for his incisive portraits and illustrations that captured the atmosphere of the belle époque. The title Rosmersholm; Le Gage suggests a connection to the dramatic or theatrical world, referencing either Henrik Ibsen's controversial play or perhaps a separate narrative scene. Although the specific imagery is characteristic of the artist's focus on human interaction, his hallmark handling of line and shadow translates the expressive potential of the print medium, prioritizing mood and psychological depth.

As a leading figure in the post-Impressionist movement, Toulouse-Lautrec's prints often addressed theatrical subjects, social commentary, or portraits of his contemporaries. The production of fine-art prints surged in popularity among French artists in the late 19th century, making graphic work a primary avenue for artistic experimentation and broader public distribution. The classification of this work as a print emphasizes its importance in charting the modernization of art dissemination.

This lithograph is a crucial component of the National Gallery of Art’s extensive collection, reflecting the institution's focus on defining works of the late 19th-century French avant-garde. The fragile nature of the china paper emphasizes the rarity and quality of this specific proof. The enduring popularity of Toulouse-Lautrec's graphic work means that high-resolution reproductions of his prints are often widely shared, with many historical works now entering the public domain, allowing broader access to his visual legacy. This piece solidifies Toulouse-Lautrec’s reputation not only as a painter but as a pivotal master of the modern print.