47 1/2x31 1/4 inches, 120 1/2x31 1/4 cm. Minot, Paris. Condition B: repaired tears at edges, some into image; tape on verso in corners over pin holes; vertical and horizontal folds. Mounted on board.
Liane de Pougy was one of the queens of Paris's fin-de-siecle Music Hall scene. She and other glamorous and sexy stars such as Caroline Otero, Emilienne d'Alencon and Cléo de Mérode were the objects of desire of royalty, industrialists and millionaires. Men of rank would fight (often using diamonds as weapons) to have the privilege of being seen in the company of these women at Maxim's or driving in the Bois de Boulogne. In order to keep themselves in the public eye, and keep the public's lascivious interest high, these actresses regularly performed in the best music halls. Shows were custom-written to highlight their (often limited) talent, and Feminissima most certainly fell into that category. In the years after the turn-of-the-century, Redon became one of the most prolific poster artists working for the Paris music halls. He specialized in sexy, suggestive scenes. Here, in what is arguably his best image, he shows the star, in all of her sensuous glory, surrounded by roses. Presumably the management of the Casino de Paris had a special relationship with the censors, as breasts and nipples were otherwise strictly forbidden on posters. "The warm and sensuous atmosphere of the poster, and the very feminine forms unveiled for the first time in Paris attracted a big crowd (probably disappointed by the little freedom authorized on stage!) to the Casino" (Folies- Bergere p. 10). Folies-Bergere 51.
