Colour lithography and modernity
Mellerio made history in 1898 by writing the first overarching study of colour lithography. He rightly identified the technique as the medium par excellence of modern printmaking, from large, brash posters by Henri de Toulouse-Lautrec to mysterious, unfathomable little landscapes by the Symbolist Charles-Marie Dulac.
The critic analysed the prints of over forty artists and also offered an insight into the infrastructure of the printmaking world, by discussing the most important printers, publishers and dealers.
Pierre Bonnard, Cover for the book La lithographie en couleurs by André Mellerio, 1898
Pierre Bonnard, Birth Announcement Card for Marie-Louise Mellerio (Billet de naissance de Marie-Louise Mellerio), 1898
L’Estampe et l’affiche
Mellerio was also the editor-in-chief of the journal L’Estampe et l’affiche — a kind of newsletter for the many collectors of prints and posters. Alongside reviews of the latest productions, it contained articles exploring the different aspects of printmaking.
Fittingly, the deluxe editions of the magazine themselves became collector’s items. They were published in limited editions, accompanied by original graphic work, and printed on fancy types of paper.
Pierre Bonnard, Poster for the journal L'Estampe et l'affiche, 1897
Further reading
- Clement-Janin & André Mellerio, L’Estampe et l’affiche (March 1897—December 1899)
- André Mellerio, La Lithographie originale en couleurs, Paris 1898
- Phillip Dennis Cate et al., The Color Revolution. Color Lithography
in France 1890-1900, Santa Barbara 1970