Color lithography as a commercial medium found its primary engine when Jules Chéret began mass-producing vivid advertisements for Parisian music halls in the late nineteenth century. By merging the technical innovations of low-cost printing with a distinct rococo-inspired aesthetic, he transformed public walls into galleries and elevated ephemeral billboard art into a recognized and highly sought-after discipline.
Early Development and Training
Born in 1836 in the former 11th arrondissement of Paris, Chéret emerged from a background of artisanal work. His formal education remained limited, yet he initiated a three-year lithography apprenticeship at age thirteen. He later refined his skills through coursework at the École Nationale de Dessin and studied diverse techniques by observing collections in local museums. Between 1859 and 1866, he resided in London, where the British approach to printing profoundly influenced his stylistic trajectory.
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Upon returning to France, Chéret developed promotional materials for major venues including the Folies Bergère, the Moulin Rouge, and the Olympia. He founded a lithography company that eventually sold to Imprimerie Chaix in 1881. Working alongside collaborators like the Choubrac brothers in the early 1870s, he implemented technical advancements that significantly lowered the costs of color lithography, making large-scale visual advertising financially viable for clients ranging from perfume manufacturers to railroad companies.
The Cherettes and Social Influence
Chéret drew creative inspiration from the frivolity present in the works of Antoine Watteau and Jean-Honoré Fragonard. His posters frequently featured lively, elegant women who departed from existing artistic conventions of the era. These figures, dubbed 'Cherettes' by the public, became symbolic of an increasingly open Parisian atmosphere. Critics noted that these depictions allowed women to inhabit public spaces in ways previously deemed taboo, cementing his reputation as an influential, albeit unconventional, force in commercial design.
Later Honors and Contributions
In 1895, he launched the Maîtres de l'Affiche collection to reproduce the finest works of ninety-seven contemporary artists. That same year, he produced a series of murals entitled The Joys of Life for the Hôtel de Ville. His career was marked by progressive recognition from the French government, culminating in his appointment as a Grand Officer of the Legion of Honour in 1926. He spent his final years in Nice before his death in 1932.
Fast facts
- Born: 1836, Paris
- Died: 1932, Nice
- Movement: Art Nouveau
- Notable honor: Grand Officer of the Legion of Honour (1926)
- Burial site: Saint-Vincent Cemetery
- Key publication: Maîtres de l'Affiche (1895)
Questions readers ask
Why is Jules Chéret called the father of the modern poster?
He is credited with this title because he pioneered the use of cost-effective color lithography to create high-quality, widely distributed advertising art that changed the role of commercial graphics in public life.
What were the Cherettes?
The Cherettes were the joyous and elegant female figures featured in his advertisements. They represented a shift in social norms by depicting women engaged in modern, liberated activities, which contrasted with the era's traditional artistic portrayals.
Achievements
- Grand Officer of the Legion of Honour — 1926
- Knight of the Legion of Honour — 1890
- Officer of the Legion of Honour — 1900
- Commander of the Legion of Honour — 1912
- Movement: Art Nouveau
