Vercasson Period
1900 – 1918
A New Advertising Concept
With the development of lithography, large-format posters emerged around 1850.
At the time, people traveled on foot or by horse, and due to the slow pace of
movement, they had time to observe what was displayed on walls and fences. This
explains why poster artists of the late 19th century, such as Chéret, Mucha, Toulouse-Lautrec,
or Steinlen,
designed large prints with intricate details. With the advent of automobiles,
speeds increased. Posters had to catch the attention of passersby in the
shortest time possible. It was in this context that Cappiello’s posters from
1900 to 1918 marked the beginning of a new era in advertising art—the “Vercasson
period.”
In 1900, Cappiello partnered with the printer and advertising agent P. VERCASSON
& Cie. Very quickly, he established the foundations of what would be called
“the modern poster.” He said: “When I conceive a poster project, my first
concern is the search for the ‘spot.’ This hard-to-define thing, which at a
great distance will catch the eye of the passerby through the intensity of its
color, tickle them with the play of its tones, and hold their attention long
enough through the appeal of its appearance to compel them to read the poster.”
(Annales Politiques et Littéraires, June 1, 1907). He
invented the theory of the arabesque: “the essential structure of the
composition, its backbone in a way, the decorative element that links the
different parts together to give it ‘the form.'” He also stated: “The subject
matter matters little. The poster does not absolutely need to harmonize with the
advertised product.” (L’Art Vivant, December 15, 1926 – Les Maitres de
l’affiche / Cappiello by Louis Chéronnet).
Klaus Chocolate
The first poster created according to this theory was the one for Chocolat
Klaus. Its impact on the public was considerable. Nothing in the
drawing suggested chocolate, which stimulated public curiosity. Within a few
weeks, all of Paris knew about Chocolat Klaus, and many had bought it. A little
later, following other poster campaigns, all of Europe discovered this brand.
Everyone was asking for “the chocolate with the woman on the red horse.”
With Cappiello, Vercasson signed an exclusive contract that lasted until the
Great War. Vercasson found industrial clients and acted as an intermediary,
while Cappiello committed to producing at least 5 sketches and 4 mock-ups each
month, enlarged to 1m x 1.4m from existing works. In return, Cappiello received
a guaranteed minimum monthly payment. Their collaboration was a tremendous
success. Cappiello’s posters were sold throughout Europe, Argentina, and the
United States. Although they parted ways in 1918, Vercasson continued to print
some posters for which the sketch or mock-up had been sold earlier.
1903
The Belle Époque
Cappiello’s posters from 1900 to 1919 belong to what is called the Vercasson
period, which corresponds to the Belle Époque extended by the four years of war.
These are large drawings with simple lines and solid backgrounds, influenced by
Japanese prints. Cappiello often associates a woman with the product to be
marketed. She is a pretty Parisian, blonde or red-haired, elegant,
distinguished, a bit mischievous and alluring, highlighted over the product,
which remains secondary. The spirit is similar to Chéret’s posters but with a
much more stripped-down design. Examples include “Absinthe Ducros,” “Livorno Stagione Balneare,” “La Rose Jacqueminot“… The eye is
drawn to the woman and very little to the product.
The fashion of the time is that of the Belle Époque. Women were expected to wear
a corset to achieve the slimmest waist possible, arching the bust forward and
the hips backward. Their outfit mainly consisted of a long dress with a large
bow flowing in the wind, a wide neckline, discreet jewelry or a necklace, and an
elaborate hat. She is never static, always airy or in motion, making the poster
very lively.
But Cappiello doesn’t only use marvelous women in his posters—he also features
fantastical characters, exotic or imaginary animals, gods or devils, all with a
touch of humor.
