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Late 19th Century Original Lithograph Poster 'Théophile Alexandre Steinlen' 1894
About the Item
Late 19th Century Original Lithograph Poster 'Théophile Alexandre Steinlen' 1894
“Steinlen was one of the four or five great poster artists of his time; all his lithographic work is distinguished by a freshness and vigour which makes it powerful, and a simplicity and sympathy which makes it appealing . . . The subject of his posters are those dearest to his heart, his pretty little daughter Colette, and his beloved cats”
This is an original poster, it has been linen backed for preservation.
ARTIST
Théophile Alexandre Steinlen
YEAR
1894
DIMENSIONS
`139 x 96 cm
CONDITION
Good
FORMAT
Linen backed
- Creator:Théophile Alexandre Steinlen (Artist)
- Dimensions:Height: 54.73 in (139 cm)Width: 37.8 in (96 cm)Depth: 0 in (0.01 mm)
- Style:Victorian (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1894
- Condition:Wear consistent with age and use.
- Seller Location:Melbourne, AU
- Reference Number:1stDibs: LU3376140268712
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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