In At the Moulin Rouge Henri de Toulouse-Lautrec memorialized Parisian nightlife at the end of the nineteenth century. The painting is noted for its daring composition, dramatic cropping, and flat planes of strident color. A regular patron of the Moulin Rouge, one of the most famous cabarets of the Montmartre district, Toulouse-Lautrec here turned his acute powers of observation on the club’s other habitués. The flaming red-orange hair of the entertainer Jane Avril is the focal point of the central seated group. Preening in the greenish mirror in the background is the dancer La Goulue. The stunted figure of the aristocratic artist appears, as it often did in life, next to his devoted, much taller cousin, Dr. Gabriel Tapié de Céleyran. But it is the frozen, acid-green face of the dancer May Milton that dominates the canvas and haunts the action. The painting comprises two joined parts: a small main canvas and an L-shaped panel to the lower and right edges. The canvas was severed after the artist’s death, perhaps by his dealer (to make the composition less radical and more saleable), and restored sometime before 1914.

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   Henri de Toulouse-Lautrec’s association with the Moulin Rouge began when it opened in 1889 and the owner bought as a decoration for the foyer the artist’s “Equestrienne,” also in the Art Institute collection. Lautrec populated this scene with portraits of the habitués and regulars of the dance hall, including himself—the diminutive figure in the center background—accompanied by his cousin and frequent companion, the physician Gabriel Tapié de Céleyran. The woman on the right is the scandalous English singer May Milton. At some point, the artist or his dealer cut down the canvas to remove her from the composition, perhaps because her shocking appearance made the work hard to sell. In any case, by 1914 the cut section had been reattached to the painting.

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