Théophile Steinlen’s Pierrot and the Cat (1889) captures the tender, melancholic spirit that defined both the Montmartre bohemian scene and Steinlen’s own artistic personality. Known for his political engagement and his deep affection for cats, Steinlen blends whimsy with quiet social observation in this intimate composition. Pierrot—traditionally a figure of innocence, longing, and gentle sorrow—appears here not as a theatrical caricature but as a humanized, contemplative presence, softened by the companionship of a graceful cat, a creature Steinlen painted obsessively and lovingly throughout his career. The pairing evokes themes of vulnerability and silent understanding, suggesting that both clown and animal exist on the margins, far from the glamour of the Belle Époque cabaret culture Steinlen frequented through Le Chat Noir. Beneath the artwork’s charming exterior lies an empathetic gaze at fragile beings who navigate a world that often overlooks them—a recurring sentiment in Steinlen’s broader output, from his social commentary illustrations to his portraits of Montmartre’s working class.
ArtistThéophile Alexandre Steinlen (Swiss-French painter, printmaker, illustrator, poster artist and sculptor of the Belle Époque; Lausanne, 10 November 1859 - Paris, 13 December 1923; naturalised French in 1901; one of the defining figures of the Le Chat Noir Montmartre milieu)
Year of creation1889 (painted during Steinlen's early Montmartre years, eight years after his definitive move to Paris in 1881 at the age of 22. The subject — a small child dressed in the white loose-fitting costume of the commedia dell'arte clown Pierrot, holding an evidently uncomfortable black cat — joins the two great motifs of Steinlen's career: tender, melancholic depictions of children and his obsessive, virtuosic depiction of cats. By 1889 Steinlen had been working for several years for Le Chat Noir, Rodolphe Salis's famous Montmartre cabaret in Boulevard de Clichy, providing illustrations for the cabaret's eponymous magazine and steeped in the bohemian artistic and literary culture that revolved around it; his iconic Tournée du Chat Noir poster of 1896 — the silhouette of a defiant black cat on a yellow ground — would become one of the most famous images of the Belle Époque. The figure of Pierrot — traditionally the white-faced, white-clad sad clown of the Italian comedy, a melancholic and tender outsider — was a particular favourite of the Montmartre artistic circle around Le Chat Noir, treated in parallel by Adolphe Willette, the poet Jules Laforgue, the composer Claude Debussy, and somewhat later by Cézanne, Picasso and Severini. Steinlen had a daughter, Colette, who appears repeatedly in his oeuvre, and the child here is often identified as her. The black cat, dangling tensely from the child's arms, anticipates the literary and graphic ubiquity of the black cat in Montmartre iconography. Steinlen, more politically and socially engaged than most of his cabaret colleagues, would in the following decade increasingly use the same draughtsman's idiom for left-wing illustrations in journals such as Gil Blas, Le Mirliton and L'Assiette au Beurre)
Technique/MediumOil on canvas
Original dimensionsNot publicly documented
Collection/MuseumPrivate collection (the painting's current location is not publicly documented; WikiArt and other catalogues list its whereabouts as unknown / private hands)
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I simply love the portrait of the three black cats! - flawless print, elegant frame and quick shipping with sufficient packaging.
I will be coming back for more!
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Extremely clear and detailed. Photo is the print with museum grade glass.
You could look at it a hundred times and still notice a different detail each time.
We absolutely love this print! We framed it and displayed it in our sacred space area. Great addition to our decor and a powerful piece of art. Many thanks.
Okay, let me start by saying this is my favorite painting of all time. I love skulls. I am beyond thrilled to own this piece and show it off to all who enter! I cannot believe this was painted in 1533.. It stirs me. 10/10 piece. Easy.
I am attaching two photos of the upper left corner where the crucifix lies hidden in plain sight. I am disappointed that the wrap of the canvas wasn't very tight on this one. Because of the loose wrapping.. you can clearly see that the crucifix is mirrored from the printing job and it kind of ruins that corner of the piece because it is a detail you aren't suppose to notice right away. Unfortunately it sticks out in plain view. I plan to take black paint and just tape off the edge and fill the outer edge so the crucifix has a proper corner to inhabit. Although, I am hesitant to try and alter something so expensive.. Not sure what to do.
Solid as usual. Solid as always. The Last Days of Pompeii is dramatic and moody; just what I wanted. Print quality is sharp, colors are faithful. The artwork is theatrical, and work well on canvas. I'm a history nut and have had a fascination with Pompeii since my teens, so this one had to join my collection. Happy with it.
We made our first purchase from Inspiraggio, The Beheading of St John the Baptist | Caravaggio | 1608.
We absolutely love it. The quality and framing are amazing. It changes the whole room.
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I ordered two paintings from Inspiraggio, and both are of incredible quality and remarkably faithful to the originals. The canvas and frame both feel sturdy, and the level of detail is truly impressive. I’m delighted with my purchases and would definitely order from them again in the future
Very pretty. I knew I had to have 'Vanity' when I saw it. 'The Great Red Dragon...' is... great as well. Both quality prints, really like how they look in my apartment.
It's a masterpiece! It really fits the horror theme of my office room. It scares my wife but that what I was going for. I will definitely order more photos, not just for me but as gifts as well. I already have "the laughing fool" picture on the way. Thank you guys
Very poorly packaged—thin cardboard; I don't know how it survived shipping. The stretcher frame is too weak, leaving the canvas sagging and barely taut; at least one extra crossbar needs to be added to get the tension up to an acceptable standard. Check pictures, description diameters for package was overestimated few cm.