The ultimate use of the silhouette in printmaking is a solid area of black printer’s ink.
The cat was inspired by the shadow theatre that Steinlen and other artists staged at the club.
Writing in 1896, the critic Louis Nazzy captured the poster’s impact: ‘The walls of Paris have been dignified by the presence of this haloed cat, hieratic, Byzantine, of enormous size, whose thin fantastic silhouette hangs high above the crowds in the streets.’
Artists shrouded their figures in darkness to create a mysterious, hushed atmosphere, in the same way as the actors at the Symbolist Théâtre de l’Oeuvre, who performed behind a curtain which transformed them into indeterminate shadows.
Colta Feller Ives, The great Wave. The Influence of Japanese Woodcuts on French Prints, tent.cat., New York 1974
Ghislaine Wood, ‘The Age of Paper’ in Art Nouveau 1890-1914, tent.cat., London 2000, p.148-63
Le théâtre de l'Oeuvre 1893-1900: Naissance du théâtre moderne, tent.cat., Paris 2005