The most noticeable thing about the paintings of Henri de Toulouse-Lautrec is not their often lurid colors or the ukiyo-e-influenced compositions. Nor is it their renowned subject matter: the lively, sordid, effervescent world of fin-de-siecle Paris.

Naturally, these elements are all “high in the mix” at “Toulouse-Lautrec and His Circle,” a major exhibition at the Bunkamura looking at the life, work, and connections of the diminutive French genius. But these aspects are too well-known, practically to the point of cliche, so that the experienced exhibition visitor hardly sees them. Instead, what really stands out and, in the process, gives renewed interest to Lautrec’s works, is his sensibility, the mind of the artist that the paintings reveal.

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