The can-can, a dance that emerged in the mid-19th century, was originally performed by male dancers but later evolved into a female-dominated form. The can-can’s steps are free-spirited and passionate, with seemingly simple high kicks that require great strength and endurance. These are often followed by side flips or splits, paired with provocative costumes like large, layered skirts and thigh-high stockings. The dance is accompanied by the lively and fast-paced can-can music from Jacques Offenbach’s Orpheus in the Underworld. This energetic combination, both visually and musically appealing, contributed to the joyful and uplifting atmosphere that made the can-can a defining feature of the late 19th-century Parisian cabaret scene, especially at the Moulin Rouge, where it became a European sensation.
On the dazzling stage of the Moulin Rouge, one of the stars of the era was Jane Avril, a talented and charismatic dancer renowned for her singing and dancing abilities. She was also one of Lautrec’s most prominent models for his posters. In the 1890s, Lautrec’s large posters and lithographs were commonly seen on the streets of Paris, and he had already established himself as a well-known artist. The performances at the Moulin Rouge, in particular, became a key subject of his poster works.
From the moment Jane Avril joined the Moulin Rouge, Lautrec began creating promotional posters and lithographs for her, incorporating elements of Japanese ukiyo-e prints. With their vibrant facial expressions and graceful poses, coupled with large-scale posters used for promotion, Avril's fame skyrocketed. She became a celebrated star, largely thanks to Lautrec’s artistic support. Avril, with her strong commercial instincts, recognized the powerful promotional effect of posters in that era, particularly those designed by Lautrec. His distinctive line work and portrayal of characters were always eye-catching. In 1896, when Avril's troupe, “La Troupe de Mademoiselle Eglantine”, toured from the Moulin Rouge in Paris to the Varieties Theatre in London, she personally commissioned Lautrec to create the poster for this exhibition.
Avril once expressed her gratitude to Lautrec for the promotional posters he made for her: “From his first poster about me, I am certain that my success should be credited to him”.
