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Leonetto CappielloKatabexine1903
1903
$19,500
£14,975.16
€17,161.35
CA$27,451.18
A$30,751.39
CHF 16,024.28
MX$375,103.52
NOK 203,631.83
SEK 192,010.30
DKK 128,087.62
About the Item
CAPPIELLO, LEONETTO
(1875 - 1942)
"Katabexine"
Lithograph in color, linen-backed c. 1903
Sheet size: 54.25” x 39”
Cap./GP, 252; Cap/StV, 4.22; DFP-II, 118; Schardt, pp. 174-5; PAI-VII, 63
Stamp: Republique Francais, lower center
Stamp: Lyon, upper center
Vercasson, Paris
Colors fresh
Cappiello’s era signals both the culmination of the belle époque and the beginning of its end. He distilled some
of the best elements of the past – the caricature approach of Guillaume or Barrere, the simple lines and flat
colors of the British school, and a way of making the lettering an integral part of the design which had been
practiced by posterists from Cheret to Pal. But in synthesizing them, he came up with something that denied,
surpassed, and eventually destroyed the past: simplification that obliterated all the elaborate ornamentation
of art nouveau, clarity of vision that obviated the necessity for painstaking details of the pictorial style, and
single-mindedness of purpose that eliminated the need for allegorical allusions and mythological references.
Cappiello’s posters are there to sell, and they do it by attracting attention to the advertised product. Cappiello
used mostly women as his subjects – but they are purely two-dimensional beings, with no pretense to fleshand-blood sensuality. They represent feminine allure but do not possess it themselves; it is a synthetic
attraction, but it is all the more effective because it does not depend on an individual’s reaction to a specific
face or figure. A Cappiello woman does not remind us of any particular person; she is woman, and what
attracts us is the bold and blazen way in which she insinuates herself into our consciousness. Cappiello had
the temerity to try to sell a product which he doesn’t show by the image of a woman with no discernible
facial features riding a horse, which, being bright red, is obviously not of this world. The fact that it worked
spectacularly well started a whole new trend in posters, and in advertising in general: Cappiello became the
father of modern advertising.
Today, concepts like surrealism, abstraction and synthesis are old hat. We must remember, however, that in the
era of Victorian conservatism, his flight of fancy must have been like a fresh breeze or perhaps a hurricane that
swept up all the old-fashioned ideas into a sorry heap. The old new art is dead – long live the new new art!
- Jack Rennert
- Creator:Leonetto Cappiello (1875 - 1942, French)
- Creation Year:1903
- Dimensions:Height: 62 in (157.48 cm)Width: 46 in (116.84 cm)Depth: 1.5 in (3.81 cm)
- More Editions & Sizes:Unknown EditionPrice: $19,500
- Medium:
- Movement & Style:
- Period:
- Condition:There is a small chip on the frame's upper left hand corner.
- Gallery Location:Hinsdale, IL
- Reference Number:Seller: 18181stDibs: LU138427150242
Leonetto Cappiello
Leonetto Cappiello was born in 1875 in Livorno, Italy, but took on the nationality of French in 1930. He first achieved fame as a caricaturist, then by inventing the modern poster and creating the first brand logos, including the green devil for Maurin Quina. A self-taught artist, he created his first paintings in 1886. In November of 1900, he signed his first contract with the publisher P. Vercasson, for whom he produced posters from 1902 to 1913. After World War I he joined the publisher Devambez, for whom he worked until 1936. In 1922, his poster sketches were exhibited at the Venice Biennial and the French Institut in New York. In 1928 his “Self Portrait” was ordered by the Uffizi Gallery in Florence, Italy. In 1936 he participated in the Milan Triennial and the Exhibition of the French Poster in Prague. After his death in 1942, Cappiello’s work was the subject of retrospectives at the Museum of Decorative Arts in Paris in 1947, the House of Culture in Livorno, Italy, in 1960 and the Grand Palais in Paris in 1981.
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