Art
Dethomas's early style owes most to the influence of Carriere and Degas, whilst later works tend more towards that of Toulouse-Lautrec, Legrand and Forain. Dethomas himself claimed that his inspiration was guided by artists of earlier generations, particularly Goya, Delacroix and Manet, but his individuality of style ensured he would "not be influenced in his work by any methods or thoughts other than his own". He realised vigorous charcoal drawings showing views of Paris and Italy, as well as portraits of his friends Edmond Rostand, Catulle Mendès, Toulouse-Lautrec, Henri de Régnier (whose Esquisse Vénitiennes he illustrated), Forain, etc. Dethomas was a prolific lithographer, and through his close connections in literary circles, many of his lithographs were published in print. He illustrated works by Maurice Donnay, Octave Mirbeau and, in 1922, Molière's theatre. In a letter of introduction for Dethomas, written by Lautrec in the summer of 1895 to Joseph Ricci, Lautrec refers to Dethomas as his dear friend and compliments him as a painter "who doesn’t talk about his paintings, something that is be admired". Dethomas produced advertising posters as early as 1897, which, as with his contemporaries, contributed to his fame. Dethomas marketed his art via the Durand-Ruel Galleries and Galerie Druet and is known to have had his works framed by the frame-maker and art dealer Pierre Cluzel (1850–1894), and his successor L. Vivien, at Cluzel's workshop (33 Rue Fontaine, Montparnese). In 1912 Dethomas was awarded the Chevalier de la Légion d'honneur.
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