The flowing hair, elegant robes and floral patterns are typical of Art nouveau and reflected the tastes of the general public.
Each print came with a separate sheet containing an appropriate extract from contemporary literature.
L’Estampe Moderne was financially successful, but the album was disparaged by print connoisseurs, who found the participating artists insufficiently progressive or important, the edition too large, and the quality of the paper and printing techniques inferior.
In his survey of the most important printmakers in 1898, the critic André Mellerio dismissed the album as ‘banal’.
André Mellerio, La lithographie originale en couleurs, Paris, 1898.
Tony Palmer, Anne Willsford (red.), L'Estampe moderne (the modern print), tent.cat., Canberra (Australian National Gallery), 1983.
adventuresintheprinttrade.blogspot.nl (accessed 8 april 2015)