In "La glu" (Dans "La glu")

Lautrec employed lithography to mimic the spontaneity of pencil on paper. The lines are loose, uneven, and heavily smudged, with areas of dense shading suggesting volume through tone rather than contour. The rough texture and apparent haste imply a single-session drawing, capturing motion and weight through gesture. The limited palette of black and beige enhances the sense of immediacy, stripping away ornament to emphasize form and mood.

Produced in 1898, the print was part of Lautrec’s broader exploration of printmaking during the final years of his life. He often worked from direct observation in Montmartre’s entertainment districts, translating sketches into lithographs for limited editions. While the exact provenance of this specific impression is not widely documented, it aligns with his practice of distributing such works among friends and patrons, circulating privately rather than for public exhibition.

In late 19th-century Paris, lithography became a favored medium for artists seeking to break from academic traditions. Lautrec, influenced by Japanese woodcuts and modernist experimentation, used it to document the city’s underbelly—cabarets, dancers, and sex workers—with empathy and precision. His prints circulated among avant-garde circles, offering an alternative to grand historical painting by elevating the transient and the ordinary.

Lautrec’s *In 'La glu'* exemplifies his contribution to modern printmaking: transforming sketch-like immediacy into reproducible art. His unidealized portrayals of marginalized subjects influenced later generations of artists seeking authenticity over polish. Though not widely exhibited in his lifetime, such works gained recognition for their psychological depth and technical innovation, securing his place in the evolution of 20th-century graphic art.