Henri de Toulouse-Lautrec knew how to use his genius and characteristic style of drawing not only to draw attention to himself, but also to commemorate others - especially his muse, Jane Avril.
Born Jeanne Beaudon, the dancer grew up under the care of her abusive mother (she never learnt the true identity of her father); the mistreatment lead to the development of neurological problems in Avril. However, her stay in the Salpêtrière clinic helped the young patient discover her talent and passion for dancing.
As a professional, Jane Avril was appreciated by various representatives of the Symbolist movement in poetry, but it was Arsène Alexandre, a French art critic, who noticed her unconventional relationship with Toulouse-Lautrec.
The painter's acknowledgement of Avril benefited both artists: after unsuccessful beginnings, Lautrec became a well-known poster artist, and the beauty and eye-catching charm of the dancer was captured not only for the late 19th century Parisians, but also the whole world.
Nevertheless, it is worth mentioning that Lautrec's paintings of Avril differ considerably from his posters: the latter depict a "graceful, light, a little mad, pale" woman, as Alexandre notes, while the former detail a pensive and older figure. The way the dancer was portrayed on the canvas helped establish her persona as an independent and self-sufficient woman, whose grace can still be regarded today.
