As a result of this phobia the women in Toulouse-Lautrec’s images continue to drift apart from each other, suggesting his desire to drift away from his study of the lesbians. Now we cannot tell if the women are lesbians. For example, in 1894 he produced The Two Girlfriends. The two women are sitting on a plush divan, but it is not obvious that they are lesbians. One woman’s arm is placed on the waist of her partner whose arms are covered by a blanket. The embrace does not appear vulgar but rather a friendly support as the woman who is being cuddled is not returning any sexual gesture. The distance between the two women is greater than that between the women in the earlier bedroom scenes. We can presume that Toulouse-Lautrec was attempting to make his sketches less recognizable as being lesbian ones. He did want to be tagged as the artist famous for his homosexual studies. If he were, it would be hypocritical considering our hypothesis that Toulouse-Lautrec was homophobic. Even though Lesbianism was becoming more prominent in Paris at this time, Toulouse-Lautrec was still uncomfortable with his own Sapphic artworks and was slowly pulling away from his liberal notions.