POSTER AND STAINED GLASS WINDOW

POSTER AND STAINED GLASS WINDOW

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Cycles et automobiles
Eugène Grasset, Paris, 1897
colour lithograph on paper
Paris, Musée des Arts décoratifs, inv. 9946

Establishing himself as one of the leading exponents of Art Nouveau, Eugène Grasset made his stylistic mark in all fields of decoration and played his part in abolishing the traditional distinction between the fine arts and the so-called minor arts. At the turn of the 19th and 20th centuries, with Jules Chéret, Alphonse Mucha and Henri de Toulouse-Lautrec, Eugène Grasset was one of the masters of poster art. This was the period in which the poster gained huge popularity as an art form, prompted by France’s increasingly liberal economy and progress in printing techniques, notably lithography.

  • Dépôt de chocolat Masson

    Eugène Grasset, Paris, before 1898
    colour lithograph on paper

    Paris, Musée des Arts décoratifs, inv. 19920
  • Société des Artistes décorateurs

    Eugène Grasset, France, 1904
    colour lithograph on paper

    Paris, Musée des Arts décoratifs, inv. 12310

 

  • Suzy Deguez dans ses danses d’art

    Eugène Grasset, France, 1905
    colour lithograph on paper

    Paris, Musée des Arts décoratifs, inv. 12396.1
  • Nouveau Larousse illustré en 6 volumes

    Eugène Grasset, France, 1897
    colour lithograph on paper

    Paris, Musée des Arts décoratifs, inv. 12633.1

Eugène Grasset worked in every field of publicity except the political poster. Les Arts Décoratifs has 129 of his posters in its collection, advertising either products (Cycles et automobiles, Abricotine délicieuse liqueur, Dépôt de chocolat Masson), or cultural events such as a publication, exhibition or stage production (Nouveau Larousse illustré en six volumes, Salon des Cent, Société des artistes décorateurs, Suzy Deguez dans ses danses d’art).

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Abricotine délicieuse liqueur
Eugène Grasset, France, vers 1900
colour lithograph on paper
Paris, Musée des Arts décoratifs, inv. 12383.2

In posters such as Le Salon des Cent, Eugène Grasset’s use of flat colour and forms outlined in black is similar to stained glass, for which he also produced designs. La matinée de printemps, on display in Room 44, was the result of his collaboration with the painter and master glazier Félix Gaudin (1851-1930).

  • Salon des Cent

    Eugène Grasset, France, 1894
    colour lithograph on paper

    Paris, Musée des Arts décoratifs, inv. 10023
  • La Matinée de printemps

    Eugène Grasset, Paris, 1894
    stained glass

    Paris, Musée des Arts décoratifs, inv. 8003