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Théophile Alexandre SteinlenInterior of Tramway1896
1896
About the Item
Theophile Steinlen (1859-1923), Interior of Tramway, lithograph, 1896, signed lower right in red pencil. Reference: Crauzat 173. In good condition, on Chine Volant with wide (full) margins, 10 5/8 x 13 5/8, the sheet 16 1/2 x 20. A proof impression apart from the edition of 50.
A fine proof impression of this well known masterpiece.
Theophile Alexandre Steinlen began his career as an illustrator for Paris journals (Le Chat Noir, Gil Blas), and was naturally attracted to printmaking presumably because he was such an excellent draughtsman. His lithographic work, such as Interior of Tramway, was of course informed by the marvelous draughtsmanship of his fellow-countryman and predecessor Honore Daumier. Indeed, Daumier made several at least superficially similar images of people on trains, and this theme has of course been repeated by others including Hopper, Marsh, and Bishop in the US.
Although he is famed for his fin de siecle posters (and for his cats!), Steinlen’s work throughout his career was marked by strong social consciousness. From early on, he created images of French life – prostitutes and pimps, construction workers and miners, ragpickers and soldiers, workers, city people. Here we find group of Parisiens, some rather well dressed in fact, bundled up against the cold and although sitting close to each other, each in a world of their own.
- Creator:Théophile Alexandre Steinlen (1859 - 1923, French)
- Creation Year:1896
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531509883
Théophile Alexandre Steinlen
Theophile Alexandre Steinlen was born in Lausanne in 1859. He was naturalized French in 1901. He was a painter, engraver, illustrator, poster artist and sculptor. Before settling in Paris, he made a detour to Mulhouse where one of his uncles placed him in the studio of one of the best lithographers of the time. He settled definitively in Montmartre in 1881. Willette introduced him to his companions of the Cabaret du Chat-Noir animated by Rodolphe Salis. He met Toulouse-Lautrec, Forain, Léandre, Debussy, Eric Satie, Verlaine, Alphonse Allais and Aristide Bruant. He took part in the performances of the famous cabaret's shadow theater with animal stories and, most often, sequences featuring cats, for which he has a particular affection. The felines will appear throughout his activity as "parentheses" in a tormented work. There is, in this torment, the expression of no personal problem but a painful compassion for the lives of the exploited and marginal beings. He painted and drew idylls, balls and bastrings, workers, kids and gosselin, the poor, the little workers, girls and marlous. He sometimes made posters. In the most successful of them (« Le lait pur de la Vingeanne » et le « Fer Bravais ») he imposed, relevant or not, the presence of cats.
In 1901, Steinlen worked for L'Assiette au beurre , the most virulent satirical newspaper ever published and takes readily to target the institutions of the 3rd Republic.
His works are found in numerous Public Collections, such as Petit Palais in Geneva, Hermitage Museum in Saint Petersburg, and the National Gallery of Art in Washington.
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