Lausanne, November 10, 1859 - Paris, December 13, 1923
E 'was a Swiss painter and printmaker, best known for his lithographs.
Théophile-Alexandre Steinlen, Tournée du Chat Noir, 1896, 135.9 x 95.9 cm, The Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey.
His name shows the German-born father of the family, although born in French Switzerland. He was a member of the Art Nouveau artist.
After reaching the upper classes of high school, he enrolled in the Faculty of the Academy of Lausanne, but soon had to go to work at a relative Mulhausen, in a factory of linen fabrics and his talent was used for decorative designs tissue.
In 1881 he went to Paris, Montmartre during the period when it reached its meaning in the literary and artistic world. His first affiche (poster) was Trouville sur Mer, 1885. In 1891 he painted Le Reve and discovered lithography. The paintings of 1894, when he made his first exposure to the Bodine, shows his denunciation of misery and violence (Le petit sou). In
Boulevard Rochechouart opened the first coffee art by Rodolphe Salis, and a few years later, Le Chat Noir , rue Victor Masci. Salis-proclaimed "gentilhomme cabaretier" because it believed it had the relationship with an old Swiss noble family and his cabaret occasioned many artists and poets to introduce their works to the public. Among these artists was that Steinlen in Le Chat Noir, also met Toulouse Lautrec. Rodolphe Salis thought first of all in their interest, just because it rewarded its singers and its painters, whom he charged to beer drinking, without taking into account that they had filled the room of drawings and paintings. He had many works by Steinlen, including a decorative panel, representing a concert of cats on the roofs of Montmartre, also teaches Le Chat Noir (1896) fixed on the door of the cabaret was painted by Steinlen.
In 1900, for his acquaintance with Emile Zola who wrote The Assomarmi, Steinlen painted a picture which gave the title of this book. Shortly after
Steinlen began to treat the subjects of popular life in his illustrations of the songs of Bruants: workers, beggars, musicians, Camelots, gardeners, cocottes, souteneurs, life in the suburbs, streets, working-class neighborhoods, because he recognized in humans the victim of the social environment.
From 1913 to 1919 produced many posters of war, denouncing the misery of the soldiers and the people (Deux mères et trois enfants - C'est la guerre).
collaborated with his illustrations for the weekly revolutionary Chambord, Gerault founded by Richard, (1860-1911), Socialist MP and editor of the Petite Republique, signed with the pseudonym Pierre Petit, slightly modified translation of his surname.
Among his most assiduous and successful collaborations with magazines, are certainly remember at least those with L'Assiette au Beurre and especially to Gil Blas (since 1891), for which he produced in 10 years more than 700 drawings, telling the daily life, between poverty and poetry, of the Paris slums.
http://it.wikipedia.org/wiki/Th% C3% A9ophile_Alexandre_Steinlen
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