Theophile-Alexandre Steinlen (1858-1923)

Over the course of his artistic career Steinlen created over 380 original lithographs and 115 etchings. In addition, Steinlen's wonderful use of line and strong design techniques led to the creation of  some of the most famous posters of the Art Nouveau movement. These include, Tournee du Chat Noir (1896), La Rue (1896) and Lait pur Sterilise (1894).  In terms of public visibility, Steinlen was the Norman Rockwell of the 1890's and as a prolific illustrator he created drawings for nearly thirty magazines and newspapers. His images are marked by originality, simplicity, and compassion which make them alluring and engaging. Inspired by daily life, he often used his own family in his poster designs. Many of his images feature his daughter, Collette, at various ages.  Cats were also a regular theme in Steinlen's art, and perhaps no other Steinlen imagery is as strongly associated with his name today as are his studies of cats in which he captured their many activities and moods. In 1900 Steinlen published a series of cartoons and drawings of cats (Des Chats).  The quintessential Steinlen image remains his Tournee du Chat Noir (1896)originally produced as an advert for the cabaret/bar of the same name.

 

In 1881, at the age of twenty, Theophile Alexandre Steinlen moved from his native home in Lausanne Switzerland to Paris -the heart and soul of late 19th C Europe- where he became a most highly celebrated and influential artist in both the French Belle Epoque and Art Nouveau era.  Like many of his contemporaries Steinlen practiced his craft as a self-taught artist.  Starting out, and new to Paris he was quick to seek companionship among those like minded artist whom frequented the cafes and cabarets of the artistic bohemia Montmartre where he soon befriended many of the political and artistic leaders of Belle Epoque Paris.

Once establishing himself as a marketable illustrator, Steinlen's penetrating studies and evocative line work fast became effective selling points for the inexpensive weekly newspapers and four color stone lithographic journals popular at the time.  Steinlen's services were soon widely sought after by the publishers and editors of leading weekly newspapers and journals of the period.  As such Steinlen's images received extensive publication. On numerous occasions Steinlen's illustrations appeared alongside the work of  Toulouse-Lautrec, Cappiello, Alphonse Mucha, Emile Zola, Herman Paul, Felix Vallotton, and others.  , Steinlen  was as a prized illustrator for popular weekly journals such as Felix Juven's Le Rire and L'Assiette Au Beur. In addition to the large amount of drawings and lithographs he published with more mainstream journals Stainlen also produced worke for more radical press publications like, Pere Peinard, Les Temps Nouveaux and La Chambard. In order to avoid political repercussions those pieces which dealt with strong social content Steinlen's work was often published under pseudonyms such as, ‘Treelan' and ‘Pierre'.

 

Additionally, from 1891 – 1900 Steinlen illustrated prolifically for the celebrated Parisian weekly Gil Blas Illustree.  During his tenure as head illustrater for Gil Blas Steinlen's artistic stylings were perfected in his poignant social impressions of small revealing moments which recorded la comedie humaine:  abandoned children feeding a stray cat (cat imagery would later become Steinlen's trademark); a drunken husband returning home; the start of a love affair; visiting a brothel; a thief's remorse; construction workers viewing a funeral, etc.  Transformed by Steinlen's social conscience, sly satire and singular perception of human nature, such everyday incidents offer a revealing glimpse, not only of fin-de-siecle Paris, but of the passions and concerns that animate all people. Throughout his artistic career Steinlen's art continued to explore the life of the poor and humble. Known as “the Millet of the Streets”, Steinlen's influence was vast. Among other artists both Toulouse-Lautrec and the young Picasso paid direct homage to his art.