The article explores the life and work of Théophile Alexandre Steinlen (1859–1923), the Swiss-born artist who created the iconic 1896 poster *Tournée du Chat Noir* for Rodolphe Salis’s legendary Parisian cabaret Le Chat Noir. It details how Steinlen, a resident of Montmartre, was introduced to the cabaret’s circle by fellow artist Adolphe Willette and went on to produce numerous commercial works featuring cats, including advertisements, exhibition announcements, and the artists' book *Des chats, dessins sans paroles*. The piece also highlights Steinlen’s involvement in leftist politics and his broader artistic output, which included landscapes, still lifes, and nudes shown at the Salon des Indépendants.
This matters because Steinlen’s *Tournée du Chat Noir* has become a ubiquitous cultural symbol of Belle Époque Paris, reproduced endlessly on merchandise, yet the artist behind it remains relatively obscure. By examining Steinlen’s feline-focused oeuvre and his socialist commitments, the article sheds light on a figure whose graphic work defined the visual aesthetic of the fin de siècle era, alongside contemporaries like Alphonse Mucha and Henri de Toulouse-Lautrec. It also underscores how commercial art and political engagement intersected in the vibrant Montmartre scene, offering a deeper understanding of a poster that is often taken for granted.