Soon, Maurice Jouayan, his former classmate in the Lyceum Fontana, joined Lautrec’s company, with whom he again became friends. Maurice Jouayan came from a good family and had great tact and nobility. In October 1890 Bussaud, the owner of the gallery “Busso and Valadon” addressed him with a business proposal: “Our manager, Theo Van Gogh,” he said, “is also crazy, like his brother-artist.” Now he is in the hospital. and do as you please. “
Indeed, two and a half months after the suicide of Vincent Theo showed signs of insanity. He was in the clinic of Dr. Blanche, in Passy, then he was taken to his homeland and placed in a hospital for the mentally ill in Utrecht, where he died a few weeks later, in January 1891.
“Theo Van Gogh,” he said, “collected the disgusting works of contemporary artists who discredited the firm, but had several works by Corot, Rousseau and Dobigny, but we took them back this goods, and you do not need it. You will also find quite a lot of pictures of the landscape painter Claude Monet, who started to buy in America, but he writes too much. We have a contract with him for all his products, and he covers us with his landscapes, in which all the time repeats the same t. Th The rest -. Fear in general, are twisting themselves and do not ask us for help, otherwise we’ll cover the bench. “
A little discouraged by this warning, Joaoian compiled a list of pictures by which his unhappy predecessor had filled two tiny little rooms. In this collection, in addition to Monet, he discovered the “horrors” signed by Gogen, Degas, Pissarro, Raffaelli, Guillaume, Daumier, Yongkind, Odilon Redon, and Lautrec’s works that Theo bought at Vincent’s insistence.
In previous years, Zhuayan occasionally saw two times with his old school friend. Since the authors of the paintings in the gallery usually came to know about the fate of their work, Joaoian realized that sooner or later, Lautrec would appear on the threshold of his shop. So it happened.
He began his work in a very unfavorable situation. There were no buyers, no money. A few visitors shook their heads and made gloomy predictions.
Cheerful, as always, Lautrec tried to cheer Zhuyan. Now, when his friend in the Lyceum Fontana was in “his camp,” he will not part with him. What, did Degas not even deign to appear? “Nothing,” comforted his friend Lautrec: “Everyone will come, they will not go away anywhere.” And indeed, soon the gallery became the center around which the young painting rallied. There met Gauguin, who was just preparing to leave for Tahiti, Emil Bernard, Siusuzier, Schuffenecker, Charles Maurice.
Lautrec came there every day.
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