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Provenant de la famille de l’artiste
Henri de Toulouse-Lautrec (1864-1901)
Submersion
Details
Henri de Toulouse-Lautrec (1864-1901)
Submersion
ensemble de 48 feuillets dont certains numérotés et légendés
encre sur papier
La plus grande feuille: 19.2 x 22.8 cm.
Exécuté en 1881
the series of set of 48 sheets some of which numbered and inscribed
ink on paper
The largest sheet: 7 ¼ x 9 in.
Executed in 1881
Submersion
ensemble de 48 feuillets dont certains numérotés et légendés
encre sur papier
La plus grande feuille: 19.2 x 22.8 cm.
Exécuté en 1881
the series of set of 48 sheets some of which numbered and inscribed
ink on paper
The largest sheet: 7 ¼ x 9 in.
Executed in 1881
Provenance
Atelier de l'artiste.
Gabriel Tapié de Céleyran, Albi (par succession).
Puis par descendance au propriétaire actuel.
Gabriel Tapié de Céleyran, Albi (par succession).
Puis par descendance au propriétaire actuel.
Literature
Curnonsky, 'Submersion' in T.-Lautrec, Paris, 1938 (illustré).
M.G. Dortu, Toulouse-Lautrec et son œuvre, New York, 1971, vol. V, p. 358-365, nos. D.2.160-D.2.208 (illustré, p. 359, 361, 363 et 365).
C. de Rodat, Toulouse-Lautrec, Album de famille, Fribourg, 1985, p. 172-175 (illustré).
M.G. Dortu, Toulouse-Lautrec et son œuvre, New York, 1971, vol. V, p. 358-365, nos. D.2.160-D.2.208 (illustré, p. 359, 361, 363 et 365).
C. de Rodat, Toulouse-Lautrec, Album de famille, Fribourg, 1985, p. 172-175 (illustré).
Exhibited
Londres, Hayward Gallery et Paris, Galeries nationales du Grand Palais, Toulouse-Lautrec, octobre 1991-juin 1992, p. 86, no. 7 (illustré, p. 86-87).
Further Details
En 1881, le jeune Henri de Toulouse-Lautrec est le témoin privilégié d’un évènement marquant qui eut lieu au grand domaine viticole de son oncle Amédée Tapié de Céleyran. Cette année-là à Céleyran, près de Narbonne, les nombreux pieds de vigne soufrent du Phylloxéra, un insecte qui fera des ravages dans la seconde moitié du XIXe siècle et fut une catastrophe économique et sociale pour le secteur. L’unique manière connue à l’époque pour l’éradiquer est d’inonder l’ensemble des pieds de vigne, une entreprise fastidieuse et complexe. Avec Submersion, un impressionnant ensemble de 77 dessins à la plume exécutés sur 48 feuillets, Lautrec rend compte tel un reporter-caricaturiste des différentes étapes de cette opération avec le sens de l’observation, la rapidité du trait et les accents humoristiques qui le caractérisent. Submersion peut être considéré comme une œuvre annonçant la bande-dessinée où l’influence des œuvres de Rodolphe Töpfer (1799- 1846), connu comme le père du neuvième Art, est palpable et dont Lautrec connaissait le travail. Le frontispice de l’ensemble représente en médaillons les différents protagonistes encerclés par le tuyau relié à un irrigateur. Nous y retrouvons son oncle propriétaire du domaine en «Bailleur de fonds», ainsi que les autres ingénieurs et ouvriers du projet dénommés «hydraulique roi de l’inondation», «mécanique», «maçonnique» et «géométrique». En bas, le reporter Lautrec se représente lui-même chevauchant son porte fusain, prêt à croquer ce moment d’histoire de la vigne française.
In 1881 the young Henri de Toulouse-Lautrec witnessed first-hand an extraordinary event which took place at the large wine estate belonging to his uncle Amédée Tapié de Céleyran. That year Céleyran, located near to Narbonne, suffered from an attack of Phylloxéra, an insect which would go on to ravage vines across the land during the second half of the 19th Century, causing economic and social disaster for the industry. The only known manner of counteracting the problem was to immerse the whole root of the vine, a complex and time-consuming exercise. In Submersion, an impressive series of 77 ink drawings executed across 48 sheets, Lautrec records in a style similar to that of a caricaturist and replete with his unique sense of observation, quick draftsmanship and humoristic eye, the different stages of the operation. Submersion may be considered as a forerunner to the comic strip, and indeed the influence of the works of Rodolphe Töpfer (1799- 1846), recognised as the father of the Ninth Art and with whose work Lautrec was acquainted, is appreciable. The frontispiece for the series presents the principle protagonists of the story, each within a medallion which are linked together by a hosepipe emanating from an irrigation tank. Among the portraits we find Lautrec’s uncle, the owner of the property as indicated as “bank roller”, along with others including the engineers and worker on the project, nicknamed “the hydraulic king of the food”, “machine”, “mason” or “geometric”. Below, the reporter Lautrec represents himself astride his charcoal holder, ready and waiting to encapsulate this unique moment in the history of the French vineyards.
In 1881 the young Henri de Toulouse-Lautrec witnessed first-hand an extraordinary event which took place at the large wine estate belonging to his uncle Amédée Tapié de Céleyran. That year Céleyran, located near to Narbonne, suffered from an attack of Phylloxéra, an insect which would go on to ravage vines across the land during the second half of the 19th Century, causing economic and social disaster for the industry. The only known manner of counteracting the problem was to immerse the whole root of the vine, a complex and time-consuming exercise. In Submersion, an impressive series of 77 ink drawings executed across 48 sheets, Lautrec records in a style similar to that of a caricaturist and replete with his unique sense of observation, quick draftsmanship and humoristic eye, the different stages of the operation. Submersion may be considered as a forerunner to the comic strip, and indeed the influence of the works of Rodolphe Töpfer (1799- 1846), recognised as the father of the Ninth Art and with whose work Lautrec was acquainted, is appreciable. The frontispiece for the series presents the principle protagonists of the story, each within a medallion which are linked together by a hosepipe emanating from an irrigation tank. Among the portraits we find Lautrec’s uncle, the owner of the property as indicated as “bank roller”, along with others including the engineers and worker on the project, nicknamed “the hydraulic king of the food”, “machine”, “mason” or “geometric”. Below, the reporter Lautrec represents himself astride his charcoal holder, ready and waiting to encapsulate this unique moment in the history of the French vineyards.
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