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1916 La Triennale, exposition d'art français au profit de la Fraternité des artistes. Salle du Jeu de Paume. du 2 mars au 15 avril 1916. affiche, Steinlen
Theophile Alexandre Pierre Steinlen - 1916 "La Triennale"
1916/ " LA TRIENNALE "/ EXPOSITION D'ART FRANCAIS/ AU PROFIT DE LA " FRATERNITE DES ARTISTES/ SALLE DU JEU DE PAUME/ TERRASSE DES TUILERIES/ DU 2 MARS AU 15 AVRIL 1916
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Summary
In the background is a man ploughing with a team of oxen. In front of the oxen is Marianne [Victory?] who is carrying an olive branch. A poilu in the foreground is looking at this scene.
Translation of title: 1916. 'La Triennale.' Exhibition of French art to benefit the 'Fraternité des Artistes.'
Signed: Steinlen.
Promotional goal: Fr. K92.J7. 1916.
Item is no. 252 in a printed checklist available in the Library of Congress Prints and Photographs Reading Room.
MB
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Prior to the introduction of lithography, primary poster printing techniques included the Wood Block technique and the Intaglio technique. Lithography was invented by Alois Senefelder in Germany in 1796, but not utilized until the mid-to-late 1800s until the introduction of “Cheret’s three stone lithographic process.” Three stones were used to create vibrant posters with intense color and texture. The stones used were typically red, yellow or blue, which enabled the artist to produce a poster featuring both graphics and text using any color of the rainbow. The main challenge was to keep the images aligned. This method lent itself to images consisting of large areas of flat color and resulted in the characteristic poster designs of this period. The first “Art Nouveau” poster was made by Chezch artist Alphonse Mucha who worked in Paris. Art Nouveau and Belle Epoque dominated Paris until about 1901. In 1898, a new artist took Paris by storm, who would later be donned the father of modern advertising – Leonetto Cappiello.
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