When looking at what factors lead to the rise of the pictorial poster, it is clear to see that the majority of them occurred in late nineteenth century Paris and that perhaps one man, Jules Chéret, can be thanked for exploiting and mastering the techniques which made these posters reach the levels of respect previously reserved for the fine arts. As well as Jules Chéret and his mastery of lithography I will be exploring the influence of Japan and their printing techniques upon Toulouse Lautrec as well as Baron Georges-Eugene Haussmann’s renovation of Paris during its Second empire, the impacts of the rising middle class, and the effects that tax had upon the walls of Paris.
Arguably the most important Factor which contributed to the rise of the pictorial poster was the work and skill of Jules Chéret, known by many in Paris as “the king of the poster.” Bradford R. Collins states in his article “The Poster as Art; Jules Chéret and the struggle for Equality of the Art in late nineteenth century France” that at the start of Chéret’s career in the 1850’s the lithographic poster was the main promotional tool for the French economy. Starting as a lithographic apprentice, Chéret moved to London and was “established by the generosity of Monsieur Rimmel in his own printing works, his career was one of conquest. Everyone commissioned posters from him.”
During this time it is clear to see that Chéret’s style altered and improved, his colours are more radiant and compositions more effective. Bradford R.Collins further states that by focusing on popular entertainment posters, Chéret caught the eye of art critic and novelist Joris-Karl Huysmans who went on to mention Chéret in his influential Salon reviews of 1879 and 1880. “Chéret and the poster were thereby thrust into the sphere of high art.” In his 1879 Salon review, Huysmans praised a small amount of the contemporary art of the time and went on to say that “The rest do not measure up to the commercial posters on view on street walls and boulevard kiosques, these small pictures representing the corners of Parisian existence”.
By the late 1880s “Chéret was a one-man movement” and his works such as Bal au Moulin Rouge 1889 “elevated middle-class persons and pastimes into an aristocratic sphere. By 1890 a large collection entirely of posters by Cheret, was shown in the galleries of the Theatre d' Application in Paris.
Figure 1 Jules Cheret Folies-Bergère, La Loïe Fuller 1893
Figure 2 Jules Cheret Folies Bergères, Fleur de Lotus, 1893
The focal point of Chéret’s poster ‘Folies-Bergere, La Loïe Fuller 1893, (Figure 1) is of the American dancer Loie Fuller and shows another classic example of Chéret’s ability to capture the excitement and sensuality of the dancing woman in the cabaret culture of Paris. Chéret’s skill of colour lithography here allows him to express the variety of tones found in the silk costumes which Fuller wore that were illuminated by electric lights. Set against a black background she appears to spin out of the darkness, this is a typical Chéret composition, with the dancing woman at the forefront, a minimal background and typography placed top and bottom. As per usual the considered type here is clearly legible from a distance due to the black complimenting the red from the background, however as it is rarely important to the composition and used only for advertising, the type sometimes spoils the image.
In comparison to La Loie Fuller, Chéret’s Fleur de lotus of 1893 (Figure 2) is much lighter in feeling and colour pallet. In this work, six ballerinas dance over the page, promoting Armand Silvestre’s ballet et pantomime, Fleur de Lotus. This lighter, airy feeling of ballet is portrayed through these pastel colours and light fades of colour oozing from the background. The typography and main colour pallet are more considered here, and it is clear to see they work well together. However, this image is missing the simplicity of the previous poster and the skill in which Chéret prints La Loi fuller’s dress in movement cannot be overlooked, it is what carries the whole poster with ease. As stated by Jane Abdy in ‘The French Poster’ what makes a great Chéret is “the personification of gaiety in his posters …. the laughing, twirling, sparkling girl whom he uses as a model; the Parisians adored her , and called her ‘La Cherette’.
In ‘Les affiches illustr’ees’ Maindron – a section from “The French Poster” by Jane Abdy, Ernest Maindron talks about that when posters were very successful, it was often reproduced in a small version so that collectors could have them. A daily newspaper ‘Le courriere francias’ made special printings of Chéret posters in a convenient size (22”x14”) as presents to their subscribers”. However, the size of posters not only affected legibility and who could own them, it also affected the amount of tax placed upon them. All posters which were to be placed in the streets would be subjected to a government tax. “This was varied according to size; the rate was 6 centimes for the ¼ colombier, 12 centimes for the ½ colombier, 18 for the jesus and the colombier and 24 centimes for all large posters.” When this levy was paid, the poster was stamped and approved to be hung in the streets.
Figure 3 Hiroshige Plum estate, Kamedio. From “one hundred famous views of Edo” 1857.
Figure 4 Henri de Toulouse-Lautrec Moulin Rouge: La Goulue, 1891.
A further Factor which influenced the rise of the pictorial poster was the influence of ukiyo-e - Japanese wood blocks and other printing techniques which came from the east. With the opening of the trade routes to the west much of the art that Japan produced was highly sort after by the rising affluent, middle class Parisians of the time. Dieter Wanczura comments on the influx of Japanese art to the west that “at that time, everything Japanese was en vogue – very fashionable.” New shops opened in Paris to provide Artefacts from Japan for the middle class to buy and the impressionists of the time took great influence from the range of new and exciting work on show.
Henri de Toulouse-Lautrec, a fixture in the Montmartre art scene of the time, was incredibly inspired by the large areas of flat colour and unusual perspectives that were used in Japanese woodblocks. Elements like the graphic shapes and bold colours shown in Hiroshige’s work (Figure 3) can also be seen in some of Lautrec’s later work such as his 1891 lithograph, Moulin Rouge, La Goulue. (Figure 4) Lautrec was a natural draughtsman and each mark of his is full of energy. The black graphic shapes of the crowd which swarm to watch the famous dancer La Goulue are reminiscent of the bold elements seen in Hiroshige’s woodblocks. We are also looking on from the unusual perspective of Valentine le désossé, a familiar character at the Moulin rouge who has been significantly caricatured here. Toulouse Lautrec had learnt a lot from Chéret’s techniques, the colours of the Moulin rouge poster were built up in overlays and layers in the same way the Chéret would work. Using these cut off shapes to frame the composition, Lautrec creates a new dynamic style of lithograph that although taking great inspiration from ukiyo-e and Jules Chéret’s work, is distinctly his own. An excerpt found in Jane Abdy’s ‘The French Poster’ describes the lure of Lautrec's work well. “And he portrays his vision of nocturnal Paris with such a strength and power that it stains the memory like black ink which has oozed onto blotting paper.”
A final factor which had a significant impact on the rise of the poster came during “The second empire which, thanks to the energetic promotion activities of the Baron Haussmann, was to change the face of Paris, was also responsible for the wide popularity of the decorative arts”. Haussmann’s redesign of the roads in Paris allowed for easier access and use, these new wide and long boulevards could be walked down at ease by the Parisians. This along with the freedom of the press act which helped regulate advertisements on display to the public as well as the taxation of posters on walls created an environment through the streets in which posters were able to thrive. With thousands of viewers per day – the streets of Paris had been designed into a walking gallery and the posters of the time filled the building‘s facades.
In conclusion I have explored a number of factors which, when put together, allowed for an environment where the pictorial poster could thrive. Without Hausmann’s renovation of Paris it would’ve been harder to view Chéret’s exquisite posters which illuminated the streets of Paris for decades. Nevertheless, without the influence of Japan’s printing techniques upon Toulouse Lautrec’s lithographs, perhaps they wouldn’t hold the same allure which still pleases his fans over one hundred years later.
