The painter Edouard degas, who first encouraged Henri de Toulouse-Lautrec but later reviled him, painted his dansers because of the shape of them. But Toulouse-Lautrec putted the mind from the dansers into it, and added it to the shape. He layed some inside into human nature in the paintings, like he had seen from Daumier. When Henri painted the dancer, he also saw her joys, her tiredness, her hunger and her poor wage.

The Parisian middle-class was already merciless depicted by mocker Daumier. Toulouse-Lautrec painted the same middle-class, but without the bitter scorn like Daumier would do. His grabs from the Parisien nightlife were objectif and journalistic correct. Toulouse-Lautrec was much more free then Degas, son of a banker and disdained the lowest class. For Henri, the aristocracy wasn't a matter of birth or money, but much more a matter of personality. Like poet Baudelaire, he was fascinated by the ugly.