This striking 1892 illustrated program by Henri-Gabriel Ibels represents a rare surviving artifact from the golden age of Le Théâtre Libre, the pioneering independent theatre led by André Antoine in Paris. Created to accompany a triple bill — À bas le progrès!, Mademoiselle Julie, and Le Ménage Brésile — this program captures the radical energy of a movement that redefined modern theatre and visual culture in France.
Henri-Gabriel Ibels, a close associate of Toulouse-Lautrec and a prominent figure of the Nabis group, brought a distinct graphic language to his theatre work. His illustrations are bold, flat, and rhythmic, echoing the aesthetics of Japanese woodblock prints and the emerging Art Nouveau style. Here, Ibels merges theatrical content with visual modernism, transforming what might have been a simple handbill into a work of collectable art.
Each of the three plays included in this evening's program represented a defiance of convention:
À bas le progrès! was a biting satire, critical of blind faith in modernization.
Mademoiselle Julie, August Strindberg's controversial psychological drama, challenged gender roles and class structures with a realism that scandalized traditional audiences.
Le Ménage Brésile offered a glimpse into the complexities of domestic life, laced with the naturalist precision that Théâtre Libre was celebrated for.
Ibels's design responds to these themes with an immediacy that aligns perfectly with the Théâtre Libre’s mission: to democratize the stage, to provoke thought, and to integrate the visual and performing arts. His work on this program bridges the worlds of theatre and the avant-garde press, where he was a regular contributor to publications such as La Revue Blanche and Le Cri de Paris.
More than just promotional material, this program is a visual manifesto. It asserts that theatre is not merely a literary or performative event — it is a total artwork, one that begins the moment a spectator holds the program in hand. In this sense, Ibels’s work functions as both a historical document and an object of artistic intent.
Today, this rare example of Belle Époque theatre ephemera is valued not only for its connection to revolutionary dramaturgy but also for its role in shaping the future of graphic design and visual culture.
Theater - Avant-Garde - France
Aitken
Printed by Eugène Verneau in Paris
Bon état, la saleté
Inscrivez-vous et bénéficiez de remises ou d'offres exclusives.