Stuff You Missed in History Class

Episode: "Théophile Steinlen Beyond 'Le Chat Noir'"

Date: March 4, 2026

Hosts: Holly Fry & Tracy V. Wilson

Episode Overview

This episode explores the rich yet often overlooked life and work of Théophile Steinlen, the Swiss-born French artist best known for his iconic "Le Chat Noir" poster. Holly and Tracy dig deep beneath Steinlen’s commercial success with feline art, discussing his significant political activism, his ties to Montmartre’s bohemian circles, and the broader political and artistic movements of late 19th and early 20th century France. The episode is interwoven with anecdotes of Parisian art culture, tales of cat mascots, and the perennial struggle for freedom of expression in France.

Key Discussion Points & Insights

1. The Myth vs. Reality of 'Le Chat Noir'

• The hosts highlight the ubiquity of the "Le Chat Noir" poster and common misconceptions about its creator.
  • Many mistakenly attribute it to Toulouse-Lautrec, not realizing it was Steinlen’s work. (04:00)
  • "[E]ven though that artist's signature appears on the image [...] it is actually often assumed that a more famous artist [...] created it." — Holly Fry (03:39)

2. Steinlen's Early Life and Artistic Training

• Born in Lausanne, Switzerland, in 1859. (04:16)
• Studied art (and possibly theology) in Lausanne.
• Moved to Mulhouse, France, to work in textile design and learn lithography and engraving.
• Relocated to Paris in 1881, at a pivotal moment of increasing press freedoms. (05:22)

3. The Political Landscape of 19th Century France

• Holly and Tracy provide an in-depth context of French censorship laws, tracing the fluctuating freedoms from the Revolution through the Third Republic.
  • "This cycle of freedom of speech being reinstated, followed by a rollback of that freedom, started once again when Napoleon was replaced with the bourbon Restoration in 1815." — Holly Fry (07:48)
• The 1881 Law on the Freedom of the Press is introduced as a turning point, coinciding with Steinlen’s move to Paris.

4. Montmartre, Cabarets, and Artistic Circles

• Steinlen falls ill shortly after moving; a chance encounter with a doctor's brother, the painter Adolphe Willette, leads to his integration in Montmartre’s avant-garde art scene. (14:22)
• Frequented Le Chat Noir, the cabaret that defined modern cabaret culture and Parisian nightlife. (16:11)
  • "The opening of Le Chat Noir is actually pretty important because it marks the birth of the modern cabaret." — Holly Fry (16:11)
• Contributed extensively to "Gazette du Chat Noir" and other cabaret publications, with his iconic, slightly edgy cartoon style.

5. Political Involvement and Artistic Activism

• Steinlen grows increasingly politically active, aligning with anarchists and socialists.
• He collaborates with Ernest Gégout and Charles Malato, both imprisoned for anarchist writings advocating for May Day protests. (20:19)
• Steinlen’s drawings and his cat illustrations appear in their collaborative prison memoir, "Prison Fantaisies: Souvenir de Pelagie." (23:00)
• Memorable quote describing their smuggled cat companion:
  • "Then we had a new companion, and this companion was a delightful little cat that Malato's wife brought us in her work bag. Pelagia, as she was christened, grew up in the horror of the dungeons..." — Holly Fry reading from the book (23:32)

6. Cats as Symbols and Signatures

• Steinlen's love for cats permeated both his personal life and his commercial work.
  • "He came to view the cats of Paris as the mascots of the bohemian movement, wild, free and alluring." — Holly Fry (28:31)
• Noted for integrating cats—even as hidden signatures—into posters and paintings, both commercial and personal.
• Created well-known posters for various clients, e.g., French chocolatier, dairy, and veterinary clinics, all featuring cats, often family members alongside feline companions.

7. Flourishing Artistic Career Amid Censorship

• Participated in critical artistic and political publications, including socialist papers and exposés on public health issues (e.g., adulterated milk). (31:26)
• Increasing censorship in the 1890s (Lois Scélérates/"villainous laws") forced him to use the pseudonym "Petit Pierre" and temporarily exile himself to Munich. (32:34)
  • "If he placed himself in the public eye with his art, he knew he would probably be arrested because of his ties to anarchists." — Tracy V. Wilson (33:58)
• After the failed "Trial of the Thirty," returns to Paris and resumes his active role in both art and activism.

8. The Enduring Legacy of 'Le Chat Noir' Poster

• In 1896, Steinlen designs the poster for "Tournée du Chat Noir," now one of the most reproduced art images globally. (36:14)
  • Described as "simple but striking" and the image that "has endured to still be in print 130 years later on all manner of things." — Holly Fry (36:14)

9. Advocacy, War Art, and Final Years

• Actively participated in unions and labor organizing for artists.
• His style becomes darker and more serious with the outbreak of World War I, depicting refugees, wounded soldiers, and the impact of war on civilians.
  • "Steinlen's work about the war was never about active battle scenes. It also didn't directly involve politics. It portrayed all the people who were often overlooked..." — Tracy V. Wilson (39:18)
• Died in 1923; cause of death left unrecorded.

10. Appraisal and Afterlife

• Matlack Price's 1924 obituary underscores Steinlen’s sincere artistry and the ongoing value of his work:
  • "Steinlen has given, and will always give more real joy and satisfaction than most artists who have risen since his zenith. Nor will Steinlen's art deteriorate with time. It is too real, too sincere, too literary and dramatic in its quality." — Matlack Price (41:41)
• Steinlen’s political art remains lesser-known compared to his cat posters, but his influence persists in art circles and popular culture.
• The poster's popularity has inspired numerous venues and immersive experiences, sustaining the aura of Montmartre’s bohemian legacy. (43:18)

Notable Quotes & Moments

• "A lot of them got this wrong and several of them thought it was Toulouse Lautrec. It's not. Theophile Steinlen was right in the mix of the Montmartre Bohemians..." — Holly Fry (03:39)
• "Prison, however benign, never represents an El Dorado, and Pelagie has grown darkened with age... We believe we are doing useful work by combating it with laughter. As captives, laughter is, moreover, our only weapon, our only distraction." — Preface from "Prison Fantaisiecle Souvenir de Pelagie" (21:01)
• "Every dog has his day, but the nights are reserved for the cats, is often attributed to Steinlen ... but his work sure does seem to support that sentiment." — Holly Fry (31:15)
• "Steinlen is dead. Perhaps, unfortunately for us all, much of his influence is dead today in the field of the graphic arts. It is not that Steinlin's art is out of date, but rather that it is so much better, so much more living and vivid than most of the work today that it is a little disquieting to have it about as a reminder. It disturbs our illusions of progress." — Matlack Price (41:41)

Timestamps for Noteworthy Segments

• 03:39 — Common misconceptions about the "Le Chat Noir" poster’s authorship
• 04:16–05:22 — Steinlen's upbringing and art education
• 07:48–10:51 — The tumultuous history of French press freedom
• 14:22–18:38 — Entry into Montmartre’s art circle and the importance of Le Chat Noir cabaret
• 19:19–25:19 — Anarchist circles, prison memoir project, and the cat Pelagia
• 28:31–31:15 — Cat iconography in Steinlen’s work
• 32:34–36:14 — Censorship, exile, return, and enduring commercial success
• 39:18–41:20 — Wartime art and Steinlen’s late period
• 41:41–44:11 — Posthumous evaluation and legacy

Closing Thoughts

Steinlen’s legacy vividly intertwines political conviction, compassionate artistry, and Parisian bohemian life. While popular memory clings to his iconic cats, this episode brings Steinlen’s ideals, challenges, and lesser-known but deeply human activism to the fore—proving him not just a master of posters, but an indelible force for social change in art.

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