Tournée du Chat Noir 1896

Editor: Here we have Steinlen's "Tournée du Chat Noir" from 1896, a lithograph. I’m really drawn to how bold the lines are; they make the cat so striking. What jumps out at you when you look at it? Curator: Immediately, I’m struck by the poster’s function. This wasn't fine art in the traditional sense, but commercial art, printed and distributed widely to promote the cabaret. It challenges the hierarchy of art by embracing mass production. Editor: That's interesting, so it was designed to be reproduced...How does that relate to its impact? Curator: Consider the materials themselves. Lithography allowed for relatively cheap and fast reproduction. The choice to use primarily black ink enhances its graphic punch and, more importantly, keeps production costs down. The cat image becomes a brand, easily recognizable and widely circulated. This kind of art democratizes the experience of art. How do you view the visual weight of black in relation to other graphical posters of that time? Editor: I see your point. Black is indeed more imposing in the context of its cost-effectiveness and is more widely visible and attractive. It definitely feels different when you think about how this image was intended to function. The 'Chat Noir' itself becomes a product almost, commodified. Curator: Precisely! The cabaret sold an experience, and Steinlen's poster sold the cabaret. We have to think about the artist, the printer, the distribution networks, and the audience, to understand the complete social picture behind the artwork. Editor: Thinking about it as part of a broader system makes me appreciate the design and the function in a different light. Curator: Absolutely, and the "Chat Noir", in all its reproduced glory, transformed the artistic and cultural landscape. It's the perfect marriage of art and industrial production. Editor: It definitely offers a more tangible perspective on the art form. I had never considered a print as challenging hierarchy.