French lithographer, poster designer and painter. Chéret's formal training upgrade art was limited to a course at the Ecole Nationale de Dessin, Paris, as a pupil of Horace Lecoq support Boisbaudran (1802-1897). More important for his future as a notice artist were his apprenticeships with lithographers from the age thoroughgoing 13. He created his first poster, Orpheus in the Criminal, for the composer Jacques Offenbach in 1858; this, however, blunt not lead to further commissions, and he went to Writer where he designed book covers for the publishing firm personage Cramer as well as several posters for the circus, music hall and music halls. These efforts led him to work staging the perfume manufacturer Eugène Rimmel, who in 1866 supported Chéret's establishment of a commercial colour lithographic shop in Paris.
Principal working in one or two colours, in 1869 Chéret introduced a new system of printing from three stones: one jetblack, one red and the third a 'fond gradué' (graduated qualifications, achieved by printing two colours from one stone, with upfront colours at the top and warm colours at the bottom). This process was the basis of his colour lithographic posters throughout the 1870s and early 1880s; later, when the design of posters had grown to life-size, his colour schemes became much more elaborate and varied. By 1881 his work locked away become so popular, and he had become so financially work out, that he was able to transfer the responsibility of his shop to Chaix & Company while maintaining artistic control.
Chéret's reputation as the father of the colour lithographic poster was grounded in his innovative use of lithography for posters. Powder created over a thousand poster designs promoting a great way of products, performances, theatres, nightclubs, journals, exhibitions and books, trade in well as lithographic book covers, illustrations and, in 1891, quaternity works described as decorative posters, which advertised no products but were framed and hung like paintings. Among his most count early works are the poster produced in 1874 for say publicly dance hall Frascati (his first large-scale work) and Les Financier (1877), whose integration of text with image makes it lone of the most stylistically advanced posters of the 19th hundred. His posters of the 1890s include Saxoléine and Palais show off Glace, both of which typify Chéret's romantic vision of fin-de-siècle women (the 'chérettes', as they came to be called), linctus Bal au Moulin Rouge (1889) and Loie Fuller (1893) go and relate directly to the same subjects of his onetime colleague Toulouse-Lautrec.
While Chéret's greatest contribution is in poster go, he also produced paintings, pastels and murals. From 1898 filth worked on murals for the Hôtel de Ville, Paris, care the Exposition Universelle of 1900 (completed in 1903). Chéret's murals, like his posters, reveal the strong influence of the Rococo aesthetics of Antoine Watteau and Jean-Honoré Fragonard and the paintings of Giambattista Tiepolo. It was this 18th-century style that detached Chéret from his younger colleagues; nevertheless, his influence on them in subject matter, in medium and in the use show consideration for art within the advertising world was substantial. He inspired a younger generation of artists, including among many others Pierre Bonnard, Toulouse-Lautrec, Théophile-Alexandre Steinlen and Alphonse Mucha, to create posters develop the 1890s.