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Théophile Alexandre Steinlen (November 10, 1859 – December 13, 1923), was a Swiss-born FrenchArt Nouveau painter and printmaker.
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Biography[edit]
Born in Lausanne, Switzerland,[1] Steinlen studied at the University of Lausanne before taking a job as a designer trainee at a textile mill in Mulhouse in eastern France. In his early twenties he was still developing his skills as a painter when he and his wife Emilie were encouraged by the painter François Bocion to move to the artistic community in the Montmartre Quarter of Paris.[2] Once there, Steinlen was befriended by the painter Adolphe Willette who introduced him to the artistic crowd at Le Chat Noir that led to his commissions to do poster art for the cabaret owner/entertainer, Aristide Bruant and other commercial enterprises.
In the early 1890s, Steinlen's paintings of rural landscapes, flowers, and nudes were being shown at the Salon des Indépendants. His 1895 lithograph titled Les Chanteurs des Rues was the frontispiece to a work entitled Chansons de Montmartre published by Éditions Flammarion with sixteen original lithographs that illustrated the Belle Époque songs of Paul Delmet. Five of his posters were published in Les Maîtres de l'Affiche.
His permanent home, Montmartre and its environs, was a favorite subject throughout Steinlen's life and he often painted scenes of some of the harsher aspects of life in the area. His daughter Colette was featured in much of his work.[3] In addition to paintings and drawings, he also did sculpture on a limited basis, most notably figures of cats that he had great affection for as seen in many of his paintings.[2] Steinlen included cats in many of his illustrations, and even published a book of his designs, 'Dessins Sans Paroles Des Chats.'[4]
Steinlen became a regular contributor to Le Rire and Gil Blas magazines plus numerous other publications including L'Assiette au Beurre and Les Humouristes, a short-lived magazine he and a dozen other artists jointly founded in 1911.[5] Between 1883 and 1920, he produced hundreds of illustrations, a number of which were done under a pseudonym so as to avoid political problems because of their harsh criticisms of societal ills. His art influenced the work of other artists, including Pablo Picasso.[6][1]
Théophile Steinlen died in 1923 in Paris and was buried in the Cimetière Saint-Vincent in Montmartre. Today, his works can be found at many museums around the world including at the Hermitage Museum in St. Petersburg, Russia. and the National Gallery of Art in Washington, D.C., United States. A stone monument by Pierre Vannier was created for Steinlen in 1936; it is located in Square Joël Le Tac in Paris.[7]
Selected works[edit]
Cocorico (1896)
La tournée du Chat Noir de Rodolphe Salis (1896)
Mothu et Doria (1896-1900)
Lait Pur Stérilisé de la Vingeanne (1897)
Café à Léon (1921)
25 Juin 1916 - Journée Serbe (1916)
References[edit]
- ^ ab'Théophile Alexandre Steinlen'. Fine Arts Museums of San Francisco. Fine Arts Museums of San Francisco. Retrieved 2 July 2019.CS1 maint: discouraged parameter (link)
- ^ ab'Steinlen'. Denison. Denison Museum. Retrieved 2 July 2019.CS1 maint: discouraged parameter (link)
- ^Asimakis, Magdalyn (2 November 2017). 'War, Socialism, and Cats: Théophile-Alexandre Steinlen's Political Artistic Practice'. The Metropolitan Museum of Art. Retrieved 3 July 2019.CS1 maint: discouraged parameter (link)
- ^Price, Matlack (February 1924). 'Illustrator, Posterist, Lithographer: The Graphic Arts Lose Théophile Alexandre Steinlen'. Arts & Decoration. Nineteen: 35. Retrieved 3 July 2019.CS1 maint: discouraged parameter (link)
- ^'La Marseillaise / The Mobilisation'. Graphic Arts Collection. Princeton University. Retrieved 1 July 2019.CS1 maint: discouraged parameter (link)
- ^Miller, Brian (20 October 2010). 'Denison revives prints in three-pronged show Exhibit of tobacco print ads also shown'. The Advocate.
- ^'Square Joël Le Tac (ex-Constantin Pecqueur)'. Mon Paris. Retrieved 3 July 2019.CS1 maint: discouraged parameter (link)
External links[edit]
| Wikimedia Commons has media related to Steinlen. |
Posterity Destiny 2
- Steinlen.net - A collection of more than 2,500 Steinlen images
- Théophile Steinlen in American public collections, on the French Sculpture Census website
Posterity Synonym
Posterity
| Originally born Jean Paul Beguin, he changed his last name in 1912 to something a little more memorable. After several years as a jewelry designer, D'Ylen became a full-time posterist in 1919 and signed an exclusive contract with Vercasson firm in 1922. He may have owed the job offer to the fact that he was a sincere admirer and disciple of Cappiello, who was the previous star at Vercasson, and thus the firm was assured of an uninterrupted flow of designs of unbridled exuberance. D’Ylen’s mastery of the art of flamboyant product personification is clearly derived from Cappiello’s animated and exotic imagery. Reference: Bibliotheque Forney - Hotel de Sens (Paris) Jean d'Ylen was born in Paris on 7 August 1886. He was born Jean Paul Beguin and took the pseudonym of 'd'Ylen in 1912. From the age of twelve, his special talents for design manifested themselves and in 1898, he won gold and silver medals from the Ville de Paris. After his regular studies, he was a pupil from 1900-2 at the Bernard Palissy School, a municipal school of Fine Arts, where he won many prizes, including one for jewelery design. He worked for a jeweler in the Rue de la Paix. He designed his first poster for the soap 'Erasmic' - a luminous figure of a woman in a soap bubble, on a background of green and pink. It was a resounding success. In 1914 he got married and joined the 279th Infantry Regiment. He then joined the Cartography Department of the Army. After the war, he quickly opted for a career in poster design. Vercassson were keen to sign him up and he joined the firm in 1919. They presented his work at the Salon de la Publicite. It was written that 'since Cheret, we have never seen such talent and Jean d'Ylen is really the master of the modern poster'. He had an exclusive contract with Vercasson for about thirty posters. He designed posters for Waterman, Ripolin, Jacquemaire, Shell, Bally and Sandeman's Port. The posters were on advertising hoardings all over the walls of France. Soon his creations were scattered over Europe, England (by Weiner), Sweden, Holland, USA, Canada and Australia. Widowed in 1924, he remarried in 1926, a beautiful young woman, by whom he had a daughter. From 1934, a dispute with Vercasson, led him to work directly for Weiner in London. He designed for Esso, BP, the Daily Herald, Power Ethyl and was widely recognized as a leader in his field. In 1938, he died prematurely, at the height of his career. His defining comment was in 1921, when he said, 'A poster must be expressive, colourful and have an attraction which captures the attention of a passer by'. Ninety of his works are held by the Bibliotheque Nationale and his daughter had a further twelve. Later a large collection of his work was found in an atelier in Paris. An exhibition of 72 of his posters was held at the Bibliotheque Forney at the Hotel de Sens in Paris in 1980. |