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C1896
Mothu et Doria.
Artist:
Theophile Alexandre Steinlen (1859 - 1923)
“The theatregoer enjoys the thrill and gets good value for his money, of seeing reproduced on the stage, the strange and rather sinister atmosphere of the underworld and demimonde. Steinlen’s poster for the two singers Mothu and Doria also gives … Read Full Description
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Full Title:
Mothu et Doria.
Date:
C1896
Artist:
Theophile Alexandre Steinlen (1859 - 1923)
Engraver:
Imprimerie Chaix
Condition:
In good condition.
Technique:
Lithograph printed in colour.
Image Size:
235mm
x 305mm
Paper Size:
285mm
x 395mm
AUTHENTICITY
Genuine antique
dated:
1896
Description:
“The theatregoer enjoys the thrill and gets good value for his money, of seeing reproduced on the stage, the strange and rather sinister atmosphere of the underworld and demimonde.
Steinlen’s poster for the two singers Mothu and Doria also gives a delicate hint of the social tension of the period. There is still, of course, no social unrest. There appears to be no top or bottom to society but only a coexistence of opposites. But there is nevertheless a slight difference between belonging to the ‘Paris that amuses itself’ and the ‘Paris that works.’ Behind the peremptory ‘A light, if you please, sir,’ there is the haunting memory of the Weavers’ Rebellion in 1844, which was brutally suppressed” (Paris 1900, p.38)
Artist:
Theophile Alexandre Steinlen (1859–1923)
Steinlen began his artistic career as a designer of printed fabrics. In 1881, he moved to Paris, settling in Montmartre, and began to frequent the literary cabaret known as Le Chat Noir, founded by a fellow Swiss expatriate Louis Rodolphe Salis. It was there Steinlen met and befriended writers, such as Paul Verlaine, and artists Jean-Louis Forain, Henri de Toulouse-Lautrec, Louis Anquetin, Henry Somm, Adolphe Willette, Félix Vallotton, and Caran d’Ache. The artists of Le Chat Noir established something of a private club or society of aesthetes. Steinlen was soon contributing illustrations to the associated journal Le Chat Noir, and this success led him to become one of the foremost illustrators in Paris at the turn of the century.
His fondness for animals, and, in particular, cats, was noted even as early as his schooldays, when he drew sketches of cats in the margins of his notebooks. Cats seem to have appealed to Steinlen for their charm, movement, and character, as well as for their symbolic properties. His house on the rue Caulaincourt in Paris was, according to contemporary accounts, a meeting place for all the cats of the quarter. In his early years as an artist, he would sell drawings of cats in exchange for food, and, in later years, a cat would usually appear in most of his drawings, magazine illustrations, lithographs, and posters.
