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Théophile-Alexandre Steinlen, Creator of Some of the Best-Loved Images of the Era; and Finallyhenri De Toulouse- Lautrec, Who Pointed the Way to Modernism

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Théophile-Alexandre Steinlen, Creator of Some of the Best-Loved Images of the Era; and Finallyhenri De Toulouse- Lautrec, Who Pointed the Way to Modernism FICHOMAN L’AF IA THE PASSION FOR FRENCH POSTERS Traveling Exhibition Service L’Affichomania. The Passion for French Posters 1 FFICHOMAN ’A IA These pioneering artists defined a never-before-seen L THE PASSION FOR and never forgotten art form: the color poster. FRENCH POSTERS elebrating the inexhaustible Showcasing some of the most iconic era known as the Belle Époque. Drawn Cover Alphonse Mucha, Princess Hyacinth, 1911, color lithograph, photograph by John Faier, © The spirit of fin-de-siècle Paris, images of the time, the exhibition is from the Driehaus Collection of Fine Richard H. Driehaus Museum, 2015 1 Jules Chéret, L’Affichomania: The Passion for composed of six groupings, five of and Decorative Arts, and organized by Folies-Bergère/La Loïe Fuller, 1893, color lithograph, photograph by John Faier, © The Richard H. Driehaus French Posters features which are devoted to the artistic the Richard H. Driehaus Museum, Museum, 2015 2 Henri de Toulouse-Lautrec, Jane approximately 62 lithographic posters, contributions of each artist. A sixth Chicago, L’Affichomania: The Passion Avril, 1893, color lithograph, photograph by John Faier, © The Richard H. Driehaus Museum, 2015 3 ephemera, and videos by the five section recreates the era of public for French Posters presents an excep- Eugène Grasset, Cycles & Automobiles, 1899, color grand masters of the medium: lithograph, photograph by John Faier, © The Richard Jules performances in Paris, with posters tional selection of works that conveys H. Driehaus Museum, 2015 Chéret, the father of the modern poster; featuring the celebrated singers and the visual power and scale of posters, Eugène Grasset, who explored dancers that appeared at such venues and the range of expression by the feminine beauty in rich, medieval as the Folies Bergère, Les Ambassa- medium’s best-known artists working in settings; Alphonse Mucha, known for deurs, and Le Chat Noir. The posters turn-of-the-century Paris. depicting sensuous women and the date from 1875 to 1910, an exuberant whiplash curves of their tresses; Théophile-Alexandre Steinlen, creator of some of the best-loved images of the era; and finallyHenri de Toulouse- Lautrec, who pointed the way to modernism. These pioneering artists defined a never-before-seen and never forgotten art form: the color poster. L’Affichomania explores the achievements of these artists in concert with the poster’s role in French society, which includes its effect on the life of the Parisian street, the rise of advertising, the entertainment district of Montmartre, and the changing representations of women. 1 2 3 2 L’Affichomania. The Passion for French Posters L’Affichomania. The Passion for French Posters 3 Parisians strolling the city soon found themselves POSTERS AS ART on an urban stage with posters as the backdrop to their daily lives. rom the early 1880s to the The color poster was heralded as a late1890s, Paris witnessed the new art form as artists took hold of the first great era of poster art, commercial printing process known as sometimes called its Golden chromolithography and adapted it to Age. Although founded and led by their creative needs. In their hands, the Jules Chéret (who is often acknowl- color lithograph became a thrilling new edged as the movement’s artistic means of creating visual excitement in leader), the medium’s immense success the form of posters as well as the was due to a convergence of techno- domestically-scaled colored print. Some logical, economic, and legal develop- called it a “color revolution.” ments, all of which helped make the As pedestrians encountered this lively poster an inescapable presence on the new medium posted on the walls and streets of Paris. Perhaps the most kiosks of Parisian boulevards, the tempo important factor in the poster’s rise was of modern life seemed to beat faster. the passage of the Law on the Freedom By the mid-1880s, a thriving business 4 of the Press of 29 July 1881, which was firmly in place for advertising all greatly relaxed the strictures on printing manner of goods and for vividly and publishing. The timing coincided evoking the sensory experience of a with Chéret’s advances in color live show or other event using the color lithography. As a result, color-printed poster. With the advent of devoted posters were exhibited in the most collectors, public exhibitions soon public of galleries—the street—where followed, securing the medium’s place they began to blur the boundaries as a newly respected and enthusiasti- between fine and popular art. Parisians strolling the city soon found themselves cally received art form. on an urban stage with posters as the backdrop to their daily lives. 4 Eugène Grasset, Salon des Cent: Exposition Grasset, 1894, color lithograph, photograph by John Faier, © The Richard H. Driehaus Museum, 2015 5 Théophile- Alexandre Steinlen, Lait Pur Sterilise, photograph by John Faier, © The Richard H. Driehaus Museum, 2015 6 Alphonse Mucha, Zodiac, 1896, color lithograph on silk, photograph by John Faier, © The Richard H. Driehaus Museum, 2015 5 6 4 L’Affichomania. The Passion for French Posters L’Affichomania. The Passion for French Posters 5 AFFICHOMANIA he sudden popularity of and thus in their preservation—Sagot obstruction by posters from rival firms, posters fueled a passion introduced a series of twelve color the ephemeral poster nevertheless for collecting them, called lithographic posters by Jules Chéret became the subject of passionate affichomania. Some collectors that were printed on high-quality paper collecting in its own time. surreptitiously removed them from in a limited edition of fifty: a practice walls or illegally purchased them from increasingly common for art prints but a billposters, but most sought out dealers radical one for posters, which typically who had begun to specialize in them. were mass-produced and printed Starting in 1886, Edmond Sagot had on cheap paper.1 Shrewdly prescient the foresight to become the first and of their appreciating value, Sagot best-known poster dealer of the age arranged for Chéret to sign each print, when he began selling them in his which helped advance the poster as an gallery. Sagot acquired them in various art form. ways, whether through his connections Bright and bold and found everywhere to the venues where the posters were along the boulevards of fin-de-siècle hung, from the distributing agencies, Paris, the color poster was a brilliant or occasionally from the billposters fusion of art and commerce. It themselves. advertised cigarette papers and milk, By 1890, acknowledging the immortalized stage stars and bohemian emergence of affichomaniacs—a new cabarets, and won the adoration of breed of poster collectors with an passersby and art collectors alike. interest in the artistic value of the works, Subject as it was to wind, rain, and 8 7 Théophile-Alexandre Steinlen, Le Journal/La Traite des Blanches (The White Slave Trade), 1899, color lithograph, photograph by John Faier, © The Richard H. Driehaus Museum, 2015 8 Jules Chéret, Yvette Guilbert, Au Concert Parisien, 1891, color lithograph, photograph by John Faier, © The Richard H. Driehaus I Catalogue d’affiches illustrées anciennes et modernes, No 30: Paris, Librairie Ed. Sagot, 1891. Museum, 2015 7 6 L’Affichomania. The Passion for French Posters L’Affichomania. The Passion for French Posters 7 Chéret remains the first master of the medium FIVE GRAND MASTERS and a presiding figure in the field. Jules Chéret (French, 1836–1932) Widely viewed as the father of the employed densely clustered figures In 1890, Chéret reached the apex of 9 Jules Chéret, Folies-Bergère/La Loïe Fuller poster craze, Jules Chéret harnessed and ornate text, Chéret began to his profession when he received the Émilienne d’Alençon, 1893, color lithograph, the techniques of chromolithography— develop his own style. He imposed a prestigious Legion of Honor, one of the photograph by John Faier, © The Richard H. Driehaus Museum, 2015 10 Jules Chéret, Théâtrophone, formerly a commercial medium used bolder, simplified graphic approach, highest distinctions in French society. 1890, color lithograph, photograph by John Faier, © for reproductions—and brought them and strove to integrate subject and text. It was a great triumph to be heralded The Richard H. Driehaus Museum, 2015 into the realm of fine art. Chéret was in his own time as a “creator of an In time, Chéret had revolutionized the born to a working-class family, the son art industry,” and to be crowned in use of color in lithographic posters, of a typographer. Though he received the popular imagination as the “roi departing radically from the dour no formal art education, he showed de l’affiche” or “king of the poster.” black-and-white prints that had long some artistic talent as a youth and Chiefly credited with elevating posters been de rigueur in France. He used began apprenticing for a lithographer to an art form, Chéret remains the first three lithographic stones to print in at the age of thirteen. For the next master of the medium and a presiding blue, red, and yellow, applying various seventeen years he studied the exacting figure in the field. His bold imagery techniques to add texture or surface craft of lithography, gaining nuanced and colorful style inspired a new interest. Taken as a whole, his methods skill with color and form. generation of artists—one in which culminated in dynamic compositions the other four masters featured in this After designing some posters in the that prioritized the image while exhibition played a crucial role. prevailing commercial model that balancing its text. 9 10 8 L’Affichomania. The Passion for French Posters L’Affichomania. The Passion for French Posters 9 Eugène Grasset Alphonse Mucha (Swiss, 1841–1917) (Czech, 1860–1939) Eugène Grasset designed posters in of media, designing medieval-style Born in Moravia (now the Czech a medieval style popularized by the furniture for Le Chat Noir (the famed Republic), Alphonse Mucha burst upon Arts and Crafts movement in Britain.
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