arrow-down-dottedarrow-down-mediumarrow-left-bigarrow-left-smallarrow-right-bigarrow-right-mediumarrow-right-smallarrow-up-bigarrow-up-mediumcheckbox-checkedcheckboxchevron-down-mediumchevron-down-smallchevron-up-mediumchevron-up-smallclose-bigclosecollectioncompare-sliderdownloadexternal-linkgrid-decreasegrid-increaseinfomenuminus-bigminusmutedon-viewpauseplay-cleanplayplus-bigplus-blackplusrotatescalesearchsetsize-downsize-upunionunmutedzoom
Henri Gabriel Ibels, At the Circus (Au cirque), 1893

Henri Gabriel Ibels

While many of his fellow Nabi artists sought inspiration in Symbolism, Henri Gabriel Ibels (1867-1936) kept both feet firmly on the ground, focusing in his printmaking on the unvarnished working-class life around him.

Art critic André Mellerio wrote:

‘And sometimes we have thought this is what prints should be’, ‘colour lithographs, well printed, in a large number of copies, very inexpensive, showing scenes in which common people can really see themselves. Everything that really amuses them, or makes them feelstrong emotions: the circus, the fair, young soldiers, café-concerts, comic or sentimental scenes.’

Nabi journalist

Ibels designed prints for popular magazines and sheet music, which enabled his art to reach a broader swathe of the population. His illustrations frequently contained an element of social critique, while his figures had a caricatural edge. The way Ibels represented the everyday life of the working class earned him the nickname ‘Le Nabi journaliste’.

Henri Gabriel Ibels, Sheet Music Comment on s'aime by René Esse and Léopold Gangloff, performed by Mévisto, 1893

Henri Gabriel Ibels, Sheet Music Comment on s'aime by René Esse and Léopold Gangloff, performed by Mévisto, 1893

Henri Gabriel Ibels, Poster for Henri Gabriel Ibels' one-man show at La Bodinière (Théâtre d'Application, 6 November - 15 December 1894), 1894

Henri Gabriel Ibels, Poster for Henri Gabriel Ibels' one-man show at La Bodinière (Théâtre d'Application, 6 November - 15 December 1894), 1894

A series of theatre programmes

Like his contemporaries, Ibels also designed programmes for avant-garde theatres. The naturalist Théâtre Libre, where harsh Parisian life was presented on stage, formed a good fit with Ibels’ own ideals. The programmes he designed became so popular with audiences that special collectors’ editions of them were produced without the lettering.

Henri Gabriel Ibels, Mirages (Mirages), 1894

Henri Gabriel Ibels, Mirages (Mirages), 1894

Further reading
  • Charles Saunier, ‘H. – G. Ibels’, Edition de La Plume, Paris 1893
  • Phillip Dennis Cate, The Graphic Arts and French Society, 1871-1914, New Jersey 1988
  • André Mellerio, La Lithographie originale en couleurs, Paris 1898