Théophile-Alexandre Steinlen was a Swiss-born French painter, printmaker, and illustrator, best known for his iconic poster art during the Belle Époque in Paris. Born in Lausanne, Switzerland, Steinlen began his artistic career as a fabric designer. In the early 1880s, he moved to Paris with his wife, Emilie, settling in Montmartre, an area then known for its vibrant bohemian culture and artistic experimentation. Montmartre provided the perfect setting for Steinlen’s artistic development, and he quickly integrated into the circles of artists, writers, and performers that defined the era.

Steinlen became associated with the cabaret culture in Montmartre, particularly Le Chat Noir cabaret, a popular gathering spot for artists and intellectuals. Through connections made at Le Chat Noir, he began illustrating for Le Chat Noir magazine and creating works for other publications, gaining a reputation as an insightful observer of Parisian life. His illustrations often depicted scenes of working-class people, street vendors, and the city's less privileged inhabitants, reflecting his commitment to social realism and sympathy for the downtrodden. These themes would remain central to his work throughout his career, as Steinlen believed in using his art to document and elevate the everyday lives of ordinary Parisians.

One of Steinlen’s most famous works, the Tournee du Chat Noir poster from 1896, encapsulates his ability to create memorable, atmospheric images. The poster, which features a black cat with an intense gaze against a bold red background, has become one of the most recognizable images from the Belle Époque period and an enduring symbol of Montmartre’s artistic spirit. This piece was created for the cabaret club Le Chat Noir, and the striking design showcases Steinlen’s skill in combining artistic elegance with commercial appeal.

Steinlen’s work extended beyond posters; he was a prolific illustrator, contributing to satirical and literary publications such as Gil Blas, Le Mirliton, and L'Assiette au Beurre, where he created powerful, politically charged drawings that addressed issues of social injustice, poverty, and war. His art often emphasized the struggles of the working class, using realistic and empathetic portrayals of laborers and ordinary citizens. Cats, a favorite subject for Steinlen, frequently appeared in his work as well—both in domestic scenes and as symbolic figures within his posters and illustrations.

During World War I, Steinlen’s focus shifted to creating works that depicted the hardships of soldiers and refugees, reflecting his enduring commitment to socially relevant art. Today, Steinlen is remembered as one of the defining artists of Belle Époque Paris, with works that combine social commentary, aesthetic beauty, and commercial appeal.