#Léon Choubrac

[the-paintrist]

Léon Choubrac - Alcazar d'Hiver - 1882

Léon Choubrac (17 November 1847 – 5 April 1885), who sometimes signed his drawings with Hope, was a French poster designer and illustrator based in Paris.

With his younger brother Alfred Choubrac, Léon was trained as a classical artist with the painters Charles Doërr and Isidore Pils at the École des Beaux Arts. The Choubrac brothers came very soon to the poster, practicing since 1875 the modern treatment of colors and typography, associated with images thanks to chromolithography.

In the early 1870s, the Choubrac brothers and Jules Chéret (known as "the father of the modern poster") reduced the cost of colour lithography introducing technical advances. Additionally, in 1881 restrictions on bill-posting (affichage) were lifted and eased state control of the media in France. In 1884, the Paris city council started to rent out surfaces belonging to the municipality, paving the way for a rapid increase in the production and distribution of advertising posters. Posters with clear colours and dashing images appeared all over town during the vibrant spirit of the Belle Époque.

Léon Choubrac drew some posters that higher authorities seized or torn down, amongst others one that showed a woman tortured in the presence of the Pope. Another poster, The secret loves of Pius IX, showed the portrait of Pope Pius IX below a series of portraits with heads of young women. The censor made him add a beard to the head of the Pope to disguise it. The poster nevertheless caused a scandal and was torn down by order of the French Minister of the Interior François Allain-Targé.

Léon and Alfred created the Ateliers Choubrac. As an illustrator, he sometimes collaborated with his brother in Gil Blas or the satirical weekly Le Courrier français, among others. Choubrac illustrated several works by Emile Zola. Although Leon died young (1885), his brother Alfred went on to produce an impressive number of posters for Parisian entertainers, theatres, businesses and various commercial products.

The poster collector Ernest Maindron, who wrote the first essay about the illustrated poster in the Gazette des Beaux-Arts in 1884, and later published the first book on the subject (Les Affiches Illustrees) in 1886, mentioned the Choubrac brothers, along with and Chéret, among the pioneers of the illustrated poster.

[the-paintrist]

Léon Choubrac (17 November 1847 – 5 April 1885), who sometimes signed his drawings with Hope, was a French poster designer and illustrator based in Paris.

With his younger brother Alfred Choubrac, Léon was trained as a classical artist with the painters Charles Doërr and Isidore Pils at the École des Beaux Arts. The Choubrac brothers came very soon to the poster, practicing since 1875 the modern treatment of colors and typography, associated with images thanks to chromolithography.

Cycles Humber par Léon Choubrac, 1885.

[rfsnyder]

cycle art ads Léon Choubrac,

[m2-km]

Paris-Commune-Related Work for Commune Week 2023

Léon Choubrac, Le Dernier Jour de la Commune (1883).

Seeing that my post from last year (thank you, @paperandsong) has gained a little attention, I am compiling the works I have written to commemorate the Paris Commune in this post. These are not explicitly POTO-related, but no knowledge of the fandom I'm writing in is required to read them. The franchise (Senjyuushi) personifies various firearms, and I write about historical firearms related to the Franco-German War and the Commune during the Commune. The franchise does not deal with this context, and all the firearms I write about are original characters. If you're interested in the historical context of the Commune, or learning various facts about it, you can read my Madder Skies series:

Une fête cerise - The Commune as witnessed by a Tabatière rifle. (He is affectionately named Ignace for his fiery nature.) Themes: women of the Commune, disillusion, hope. A lot of unsaid affection.

Allons enfants de la patrie - The Commune from the eyes of a Chassepot rifle named Florence, owned by a child Communard. Themes: children, war horrors, innocence, bathos, propaganda. Erik makes a cameo! The second chapter contains historical notes on the Commune.

Beyond Madder Skies - The centrepiece of the series. A Chassepot rifle from the Versailles army finds himself stranded behind German forces that are observing the repression of the Commune. He acquaints himself with a Dreyse needle rifle (from Prussia), and they re-negotiate their relationship as enemies as the Chassepot fights to return to his comrades. Each chapter covers a day in the final week of the Commune.

I would love to put out new work related to the Commune, POTO, or Madder Skies this year, hopefully before Commune Week ends. Stay tuned...

[the-paintrist]

Léon Choubrac (17 November 1847 – 5 April 1885), who sometimes signed his drawings with Hope, was a French poster designer and illustrator based in Paris.

The Paris Commune (French: Commune de Paris) was a French revolutionary government that seized power in Paris from 18 March to 28 May 1871.

During the Franco-Prussian War of 1870–71, the French National Guard had defended Paris, and working-class radicalism grew among its soldiers. Following the establishment of the Third Republic in September 1870 (under French chief executive Adolphe Thiers from February 1871) and the complete defeat of the French Army by the Germans by March 1871, soldiers of the National Guard seized control of the city on March 18. They killed two French army generals and refused to accept the authority of the Third Republic, instead attempting to establish an independent government.

The Commune governed Paris for two months, establishing policies that tended toward a progressive, anti-religious system of their own self-styled socialism, which was an eclectic mix of many 19th-century schools. These policies included the separation of church and state, self-policing, the remission of rent, the abolition of child labor, and the right of employees to take over an enterprise deserted by its owner. All Roman Catholic churches and schools were closed. Feminist, socialist, communist, old style social democracy (which was a mix of reformism and revolutionism) and anarchist currents played important roles in the Commune.

However, the various Communards had little more than two months to achieve their respective goals before the national French Army suppressed the Commune at the end of May during La semaine sanglante ("The Bloody Week") beginning on 21 May 1871. The national forces killed in battle or quickly executed an estimated 10,000 to 15,000 Communards, though one unconfirmed estimate from 1876 put the toll as high as 20,000. In its final days, the Commune executed the Archbishop of Paris, Georges Darboy, and about one hundred hostages, mostly gendarmes and priests. 43,522 Communards were taken prisoner, including 1,054 women. More than half were quickly released. Fifteen thousand were tried, 13,500 of whom were found guilty. Ninety-five were sentenced to death, 251 to forced labor, and 1,169 to deportation (mostly to New Caledonia). Thousands of other Commune members, including several of the leaders, fled abroad, mostly to England, Belgium and Switzerland. All the prisoners and exiles received pardons in 1880 and could return home, where some resumed political careers.

Debates over the policies and outcome of the Commune had significant influence on the ideas of Karl Marx (1818–1883) and Friedrich Engels (1820–1895), who described it as the first example of the dictatorship of the proletariat. Engels wrote: "Of late, the Social-Democratic philistine has once more been filled with wholesome terror at the words: Dictatorship of the Proletariat. Well and good, gentlemen, do you want to know what this dictatorship looks like? Look at the Paris Commune. That was the Dictatorship of the Proletariat."

👁 Le Dernier Jour de la Commune de Paris 1871 - Grand Panorama, Léon Choubrac-Hope (1883)

#cartell #cartellisme #poster #advert #affiche #manifesto #cartellone #art #LéonChoubrac (at France) https://www.instagram.com/p/B7ULrOYB4AI/?igshid=dsjt2bek4mzb

[buz-muet]

Titre : Histoire publique et privée du Comte de Bismark par Jules Fréval [...]. La 1re livraisongratuite peut se demander chez tous les libraires. : [ affiche ] / Hope [= Léon Choubrac dit]Auteur : Choubrac, Léon (1847-1885). Illustrateur Ne voir que les résultats de cet auteurÉditeur : [s.n.]Éditeur : Imp. Franc, 3, rue d'Avron (Paris)Date d'édition : 1883Sujet : Roman-feuilleton Relancer la recherche sur ce sujet dans GallicaSujet : Presse Relancer la recherche sur ce sujet dans GallicaSujet : Edition Relancer la recherche sur ce sujet dans GallicaType : image fixeType : imageType : still imageType : estampeType : engravingFormat : 1 est. : lithographie, coul. ; 110 x 77 cmFormat : image/jpegFormat : Nombre total de vues : 1Description : AfficheDroits : domaine publicDroits : public domainIdentifiant : ark:/12148/btv1b6909439wSource : Bibliothèque nationale de France , département Estampes et photographie, EST ENT DN-1 (HOPE)Notice du catalogue : http://catalogue. bnf .fr/ark:/12148/cb40313547zProvenance : Bibliothèque nationale de France

[the-paintrist]

Léon Choubrac - Advertisement for the serialization of "Germinal" by Emile Zola in the magazine "Gil Blas" on 25 November 1884.

Émile Édouard Charles Antoine Zola (; 2 April 1840 – 29 September 1902) was a French novelist, journalist, playwright, political activist, the best-known practitioner of the literary school of naturalism, and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, which is encapsulated in his renowned newspaper opinion headlined J'Accuse…!  Zola was nominated for the first and second Nobel Prize in Literature in 1901 and 1902.

Germinal is the thirteenth novel in Émile Zola's twenty-volume series Les Rougon-Macquart. Often considered Zola's masterpiece and one of the most significant novels in the French tradition, the novel – an uncompromisingly harsh and realistic story of a coalminers' strike in northern France in the 1860s – has been published and translated in over one hundred countries. It has also inspired five film adaptations and two television productions.

Germinal was written between April 1884 and January 1885. It was first serialized between November 1884 and February 1885 in the periodical Gil Blas, then in March 1885 published as a book.

The title refers to the name of a month of the French Republican Calendar, a spring month. Germen is a Latin word which means "seed"; the novel describes the hope for a better future that seeds amongst the miners. As the final lines of the novel read:

Des hommes poussaient, une armée noire, vengeresse, qui germait lentement dans les sillons, grandissant pour les récoltes du siècle futur, et dont la germination allait faire bientôt éclater la terre. Men were springing forth, a black avenging army, germinating slowly in the furrows, growing towards the harvests of the next century, and their germination would soon overturn the earth. — 1885 translation[

Gil Blas (or Le Gil Blas) was a Parisian literary periodical named for Alain-René Lesage's novel Gil Blas. It was founded by the sculptor Augustin-Alexandre Dumont in November 1879.

Gil Blas serialized novels, such as Émile Zola's Germinal (1884) and L'Œuvre (1885), before they appeared in book form. Numerous Guy de Maupassant short stories debuted in Gil Blas. The journal was also known for its opinionated arts and theatre criticism. Contributors included René Blum, Alexandru Bogdan-Pitești, and Abel Hermant. Théophile Steinlen and Albert Guillaume provided illustrations.

Gil Blas was published regularly until 1914, when there was a short hiatus due to the outbreak of World War I. Afterwards, it was published intermittently until 1938.

In addition to Germinal, Gil Blas serialized the Zola novels L'Argent, Au Bonheur des Dames, and La Joie de vivre.

Gil Blas critic Louis Vauxcelles's phrase "Donatello chez les fauves" ("Donatello among the wild beasts") brought notoriety and attention to the works of Henri Matisse and Les Fauves exhibited at the Salon d'Automne of 1905. Vauxcelles' comment was printed on 17 October 1905[4] and passed into popular usage.

[publicite-francaise]

Crème Liebig - Goutez-moi ça ! par Léon Choubrac, 1885.

[the-paintrist]

Jules Chéret (31 May 1836 – 23 September 1932) was a French painter and lithographer who became a master of Belle Époque poster art. He has been called the father of the modern poster.

According to the poster collector Ernest Maindron, who wrote the first essay about the illustrated poster in the Gazette des Beaux-Arts in 1884, and later published the first book on the subject (Les Affiches Illustrees) in 1886, Chéret, along with the brothers Léon and Alfred Choubrac, was among the pioneers of the illustrated poster. In the early 1870s, Chéret and the Choubrac brothers reduced the cost of colour lithography introducing technical advances.

The Exposition Universelle of 1889, better known in English as the 1889 Paris Exposition, was a world's fair held in Paris, France, from 5 May to 31 October 1889. It was the fifth of ten major expositions held in the city between 1855 and 1937. It attracted more than thirty-two million visitors. The most famous structure created for the exposition, and still remaining, is the Eiffel Tower.

Le Pays Des Fees by Jules Chéret, 1899

[miquisteps]

Le Dernier Jour de la Commune de Paris 1871 - Grand Panorama, Léon Choubrac-Hope (1883)

[publicite-francaise]

Cycles Humber par Léon Choubrac, 1885.

[miquisteps]

👁 Le Dernier Jour de la Commune de Paris 1871 - Grand Panorama, Léon Choubrac-Hope (1883) #cartell #cartellisme #poster #advert #affiche #manifesto #cartellone #art #LéonChoubrac (at France) https://www.instagram.com/p/B7ULrOYB4AI/?igshid=dsjt2bek4mzb

[the-paintrist]

Alfred Choubrac (30 December 1853 – 25 July 1902) was a French painter, illustrator, draughtsman, poster artist and costume designer. Together with Jules Chéret he is considered to be one of the pioneers of the modern coloured and illustrated poster of the Belle Époque in France, in particular in Paris.

The 1880s and 1890s were an intermediary period in the development of the poster in which its primary political function shifted to a primarily promotional one as advertising in the emerging consumer economy, often, if not primarily, through the commoditisation of female sexuality. In April 1891, under orders from the Minister of the Interior, the prefect of Paris, Henri-Auguste Lozé, seized and destroyed hundreds of posters considered to be a violation of public decency. Many artists and their printers were charged. Several of Choubrac's posters were prohibited and he was brought to court along with the printers.

One of the censored posters advertised the performance of the dancer Ilka de Mynn at the Folies Bergère, who was depicted in a maillot (body stocking), which, according to the court that charged Choubrac was a cause for concern because the model appeared to be nude. Another poster was an advertisement for the French magazine Fin de Siècle, which showed a scarcely dressed female dancer. In an interview with La Presse, Choubrac said he was astonished by the upheaval, claiming that "nudity is exposed everywhere and in much more provocative ways; and I frankly confess that I do not see where the evil was, I sought to make a work of art and nothing more."

In later life he became also known for his designs of stage costumes for the theatre. Choubrac illustrated several books of the novelist Emile Zola. He produced a number of posters for bookstores to promote popular works. He also produced commercial posters for brands such as the Muscovite Digestive, Humber Cycles, Beeston Tire, Naigeon Gold Water, Unbreakable Baleinine Corsets, Mokatine, Decauville cycles, Burgeatine Liqueur, and the Hippodrome of Saint-Ponchon, among others.

As an illustrator, he sometimes collaborated with his brother Léon in Gil Blas or the satirical weekly Le Courrier français, among others. The first poster exhibition in France occurred in 1884 in the Passage Vivienne in Paris and included American as well as French posters with specific representation of the work of Cheret and the two Choubrac brothers. The New York Grolier Club in November 1890 organised an exhibition of prints of the "masters in the newest art", that of bill posting, including Choubrac, Chéret, Willette and Eugène Grasset.

The poster collector Ernest Maindron, who wrote the first essay about the illustrated poster in the Gazette des Beaux-Arts in 1884, and later published the first book on the subject (Les Affiches Illustrees) in 1886, mentioned the Choubrac brothers and Chéret among the pioneers of the illustrated poster. Maindron praised Choubrac's bold line, sense of composition and highly decorative skills. According to Maindron, in his subsequent book Les Affiches Illustrees (1886–1895) published in 1896, Choubrac must have drawn more than four hundred posters for theatres, novels and industry products, before he switched his attention to the design of theatrical costumes, in which he was equally successful.

Alfred Choubrac died on 25 July 1902 from a cold gone bad.

CHOUBRAC, Alfred. Francine Decroza des Théâtres de Paris, c. 1894. by Halloween HJB

[the-paintrist]

Alfred Choubrac (30 December 1853 – 25 July 1902) was a French painter, illustrator, draughtsman, poster artist and costume designer. Together with Jules Chéret he is considered to be one of the pioneers of the modern coloured and illustrated poster of the Belle Époque in France, in particular in Paris.

Alfred Choubrac was born in Montmartre (Paris). With his elder brother Léon Choubrac (1847–1885), Alfred was trained as a classical artist at the École des Beaux Arts by the painters Charles Doërr and Isidore Pils. The Choubrac brothers began making posters very early in their career; from 1875, they applied modern colour and typographic techniques, combined with graphics, using chromolithography.

In the early 1870s, the Choubrac brothers and Jules Chéret (known as "the father of the modern poster") reduced the cost of colour lithography introducing technical advances and the colour poster gained significance as an attractive means of promotion and advertisements. Additionally, in 1881 restrictions on bill-posting (affichage) were lifted and eased state control of the media in France. In 1884, the Paris city council started to rent out space belonging to the municipality, paving the way for a rapid increase in the production and distribution of advertising posters. Posters with clear colours and dashing images appeared all over town during the vibrant spirit of the Belle Époque.

The Choubracs worked mainly with the printing company F. Appel. Later, Léon and Alfred created the Ateliers Choubrac, one of the first graphic design agencies in Paris, originally hosted by the printing press G. Massias at the 17 passage Daudin, using a lithographic press. Around 1898, the name of the Atelier was associated with the name of Imprimerie Bourgerie & Cie, at 83 rue du Faubourg, St Denis in Paris.[6] Although his brother Leon died young, Alfred went on to produce an impressive number of posters for Parisian entertainers, theatres, businesses and various commercial products.

Alfred Choubrac specialized in posters for shows in the Parisian night-life scene of the Belle Époque, for theatres such as the Théâtre des Variétés, Théâtre du Châtelet, Folies Bergère, Opéra comique, Moulin rouge, Casino de Paris, the Eldorado, the Circus Fernando. Along with Chéret and Toulouse-Lautrec, amongst others, Choubrac was among the most important poster artist of his time. His most famous poster is Au Joyeux Moulin Rouge to promote the famous nightclub.

Alfred Choubrac (French, 1853–1902)

Scheherazade and the sultan,  1878

oil on canvas, 131 x 90 cm

© MutualArt  

[the-paintrist]

Léon Choubrac (17 November 1847 – 5 April 1885), who sometimes signed his drawings with Hope, was a French poster designer and illustrator based in Paris.

Crème Liebig - Goutez-moi ça ! par Léon Choubrac, 1885.