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or "clownesse." During her time as a gymnast, Maurice
Guilbert photographed her, capturing her younger self that contrasted with Toulouse-Lautrec's later depictions. Her clown performances included a "distinctive black-and-yellow costume with her hair piled up on her head"
112:. It is believed that her partner was Gabrielle the Dancer, another performer and model for Toulouse-Lautrec. In 1979, art historian Naomi Maurer identified Cha-U-Kao in the artist's work as part of an exhibit at the
91:. Cha-U-Kao soon became one of his favorite models. The artist was fascinated by this woman who dared to choose the classic male profession of clowning and was not afraid to openly declare that she was a
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233:"Henri de Toulouse-Lautrec: The Seated Clowness (Mademoiselle Cha-u-Kao) (49.55.50) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art"
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Little is known about her life, including her real name, though she was a gymnast before she worked as a
Parisian female
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Poster for masked ball in Paris Casino with portraits of Cha-u-kao and Yvette
Guilbert Les Redoutes du Casino de Paris
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Toulouse-Lautrec sometimes sketched Cha-u-Kao with her partner, and these sketches would be included in his portfolio
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in the 1890s. Her stage name was also the name of a boisterous popular dance, similar to the
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Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark
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Stuckey, Charles F., Henri de
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Entrée de Cha-u-Kao, from Le Rire, No. 67, 15 February 1896
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Alphonse de Toulouse-Lautrec Driving His Mail-Coach
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Henri de
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of a young Cha-U-Kao when she was a gymnast (fig. 3)
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324:"The mystery of the dancer Cha-U-Kao"
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258:nga.gov.au
239:2014-06-12
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