Theophile Steinlen, A Cat’s Life
Cabaret du Chat Noir, Toulouse-Lautrec, 1896 Poster
Theophile Steinlen was a Swiss-born graphic designer who relocated to and worked in Paris, France, in the late 1800’s. Steinlen moved to Montmartre, Paris in 1881 at the age of 19, taking up industrial design as a means of acquiring a reasonable income, although Steinlen was more known for his paintings and vigorous drawing techniques (Benezit). Montmartre, at that time, became established as the nightlife district in Paris and the home to the lower working-class citizens as well as artists of all kinds (Rearick, 29). The idea of the up and coming scene of cabarets and nightlife was to take people out of their everyday duties of their grim environment and allow them to get lost in music, dance, alcohol and provocative energy. Cabaret’s were introduced as a new avenue of entertainment. This idea of “nightlife” amusement gave men and women alike new avenues to exercise their means of self-expression and release.
The graphic design Cabaret du Chat Noir was made in Paris in 1896, with the intention to promote and capture an audience for the new grand opening location of the popular cabaret that was reinventing itself in the midst of change. Cabaret du Chat Noir was one of the very first establishments where this nightlife was implemented. There was live dancing, singing and drinking, the epitome of the club lifestyle in Paris, that has trickled into the present day all over the world. Theophile Steinlen was a regular at The Chat Noir; therefore being chosen to illustrate a poster for the grand re-opening was effortless. The much-publicized Chat Noir became a showcase of Bohemia for tourists and locals (Rearick, 53).
What is ironic about the Cabaret being named du Chat Noir and Steinlen being the designer of this poster in particular was that Steinlen had a cat obsession which is predominant in a lot of his other works of art, paintings and sculptures (Benezit). Creating an illustration for this cabaret allowed for his love of cats to be the main focal point of this graphic design. This illustration was manufactured through the chromolithograph print process. This graphic poster was designed to reintroduce the new grand re-opening of the club, which is explained in French handwritten script to the right of the feline. There is a Japanese influence present within this graphic designed poster exhibited by the bold simplicity of the design (Eskilson, 67) making it very straight forward, legible and clear of what is being communicated to the viewer. The information is easily readable and thoroughly described as to where, what and when. There is a striking emphasis on the black cat being that it is the focal point of the illustration, sitting there with its sophisticated posture and quirky smirk. There is a red arabesque halo surrounding the cat’s head, that has the town name Montmartre designed within it. The handwritten script to the right of the cat describes the new location, and date. The black cat is sitting on a red block that has the name, Rodolphe Salis, the club owner, host and stage manager written within it.
The difference between Cabaret du Chat Noir and most of the other posters that were designed during this era to promote the local up and coming nightlife entertainment was that they were usually often filled with tons of sexual overtones (Eskilson, 67). This poster was designed during the rise of French Art Nouveau, which has strong ties to symbolism and sensuality, and although this poster design in particular took on a different method and feel, there is still a sense of wonder. The way Steinlen illustrated the eyes and the smirk of the cat gives the viewer a feel of mischievous energy. Being that there was often tons of prostitution ties to the night life scene, there was a need to somehow exhibit that sensual feel, even if there were not dancing women as the main focal point. The Cabaret du Chat Noir graphic design allowed Steinlen to use his passion and love for cats in a unique way that would help himself as an artist and the club itself gain traction. There is a very authentic whimsical look to the cat. The handwritten script itself, gives the poster a very playful feel, and while there may not be lush women, or alcohol being promoted, the simplicity allows the message itself to be clear and concise which is the purpose of the communication of this design. The whole idea of the poster was to inform the public of the new location, and using the imagery of cat itself to promote a club called, Le Chat Noir, was clever motif.
Works Cited
Benezit Dictionary of Artists. © Oxford University Press, 2019.
Eskilson, Stephen J. Graphic Design A New History, Second Edition. Yale University
"Steinlen, Théophile-Alexandre (1859–1923)." The Thames & Hudson Dictionary of Graphic Design and Designers, Alan Livingston, and Isabella Livingston, Thames & Hudson, 3rd edition, 2012. Credo 2019.
Rearick, Charles. Paris Dreams, Paris Memories. Stanford University Press. Stanford, California.
