{"id":135805,"date":"2025-11-02T12:48:16","date_gmt":"2025-11-02T11:48:16","guid":{"rendered":"https:\/\/cappiello.fr\/biographie\/"},"modified":"2026-04-12T15:57:44","modified_gmt":"2026-04-12T13:57:44","slug":"biography","status":"publish","type":"page","link":"https:\/\/cappiello.fr\/en\/biography\/","title":{"rendered":"Biography"},"content":{"rendered":"

<\/div>

Biography<\/h1><\/div><\/div><\/div><\/div><\/div>

The man<\/h2><\/div><\/div><\/div>
\n
1875<\/div>\n
Cappiello born in Livorno, Italy. His father is a maritime liquidator, handling disputes between shipping companies, commission houses and private individuals. <\/div>\n<\/div>\n
\n
1886 \u00e0 1892<\/div>\n
First paintings.<\/div>\n<\/div>\n
\n
1897<\/div>\n
Spring: Cappiello arrives in Paris to visit his brother, who works at the stock exchange. Brief return to Livorno for the death of his father.
\nJune: returns to Paris, where he settles permanently. <\/div>\n<\/div>\n
\n
1896 \u00e0 1905<\/div>\n
Caricature period.<\/div>\n<\/div>\n
\n
1900<\/div>\n
In November, he signs his first contract with printer-publisher P. Vercasson, marking the start of his career as a poster artist.<\/div>\n<\/div>\n
\n
1901<\/div>\n
Marriage to Suzanne Meyer, sister-in-law of Lucien M\u00fchlfeld (literary critic) and Paul Adam (writer). He had two children. <\/div>\n<\/div>\n
\n
1899 \u00e0 1942<\/div>\n
Poster period.<\/div>\n<\/div>\n
\n
1902 \u00e0 1913<\/div>\n
He works for the publisher Vercasson.<\/div>\n<\/div>\n
\n
1914<\/div>\n
He receives the L\u00e9gion d’honneur.<\/div>\n<\/div>\n
\n
1914 \u00e0 1918<\/div>\n
Recalled by Italy during the war as an interpreter for the Information Service. He has a little time left to take part in charity days for the war-wounded, publish satirical cartoons against the Germans and make a few posters. <\/div>\n<\/div>\n
\n
1919<\/div>\n
After the armistice of 1918, he joined the publisher Devambez, with whom he worked until 1936.<\/div>\n<\/div>\n
\n
1921<\/div>\n
He is promoted to Officier de la L\u00e9gion d’Honneur.<\/div>\n<\/div>\n
\n
1928<\/div>\n
Commander of the Legion of Honor.<\/div>\n<\/div>\n
\n
1930<\/div>\n
He takes French nationality.<\/div>\n<\/div>\n
\n
1941<\/div>\n
Ill, he retired to Grasse, to the home of his sister-in-law, Mme Lucien M\u00fchlfeld.<\/div>\n<\/div>\n
\n
1942<\/div>\n
Cappiello died in Cannes following a dinner with his friend Andr\u00e9 Rouveyre. He is remembered as an indulgent, very likeable man who embodied Italian seduction, with a certain reserve that gave him an obvious nobility. <\/div>\n<\/div>\n<\/div><\/div><\/div>
<\/span>

Cappiello in his studio
194 Bd Malesherbes, Paris, 1902<\/p><\/div><\/div><\/div><\/div><\/div>

The immigrant<\/h2><\/div>
It’s no coincidence that Cappiello came to live in France. At the time, Paris was the world capital of the arts. Sooner or later, he was bound to spend some time there. Here is his account, published in October 1932 in the “Bravo” newspaper. <\/div>\n<\/div>
<\/i>
\n

Paris, the city where we think the most, where we work the most…<\/p>\n

It was, I think, in April or May 1897, that I arrived in Paris on the day when the fire at the Bazar de la Charit\u00e9 plunged the whole city into consternation. In the streets, people’s faces were in awe, in stark contrast to the splendor of that radiant spring day. <\/p>\n

I had come to spend a month as a tourist, as an amateur. I stayed for thirty-five years. That, it seems, would be enough to express the hold Paris has had on me. Although there’s always a certain modesty in expressing deep, intimate feelings, I confess, as you wish, that I love France as a lover loves his beloved. I love her for her beauty, for her spirit, for her harmony and generosity. I love it for its great love of Art. I don’t think there’s a country in the world where an artist is welcomed, appreciated, encouraged as in France – and in writing these few lines, I’m evoking one of the sweetest, most moving memories of my life: the affectionate welcome I received from all my comrades who were the most illustrious artists of the time, and the friendship that has bound us together ever since. <\/p>\n

I was 21 and crazy about all the beauty I was discovering. Paris offered too many subjects to the tourist I was for the artist not to use and enjoy. Seduced by the indefinable, witty charm of Parisian women, I became passionate about writing it down in synthetic drawings. I showed them to friends who advised me to publish them. I took them to Le Rire<\/em>, which published them immediately. The Revue Blanche<\/em> then asked me to do an album on actresses. Marcel Pr\u00e9vost wrote the foreword. You can imagine my delight! The critics and columnists gave it an unforgettable reception. <\/p>\n

Henri Letellier, then director of the Journal<\/em>, asked me to collaborate regularly every Sunday, and in this connection I remember a charming lunch at Larue’s, where the great Caran d’Ache, with his usual kindness, tried to persuade the little draftsman that I was to accept this collaboration, something I didn’t dare to do out of shyness.<\/p>\n

This was back in ’99. After Le<\/em> Journal<\/em>, Le<\/em> Figaro<\/em>, the posters, etc., etc., and everywhere the same cordiality, the same simplicity. <\/p>\n

The smallest gifts,<\/em> in whatever branch of human activity, are developed and multiplied in France. Through the love and taste it has for this constant creation of thought, a brain never remains without evolving, without growing. <\/p>\n

The whole world suffers from its luminous radiance and influence, to such an extent that every manifestation of human genius comes to it for a kind of spiritual sanction.<\/p>\n

It enlightens, but never blinds.<\/p>\n

If I’m asked what part Paris plays in my impression of France, I’ll answer: Paris immediately struck me as the place where the elite meet, and whose exchanges give it its profound and exceptional spirit. The most proportioned, the most sumptuous, and at the same time the most intimate setting, it is the city where people think the most and work the most. <\/p>\n

Can we fail to be moved by its beauty every time we follow this triumphal march from the Bastille to the Etoile?”<\/p>\n<\/div><\/div><\/span><\/blockquote>

<\/span><\/div><\/div><\/div><\/div>

The work<\/h2><\/div><\/div><\/div>
\n
1886<\/div>\n
First paintings: a portrait of a man and another of a woman (unlocated). He continues his schooling in Livorno; his notebooks are filled with sketches. He starts copying old engravings. <\/div>\n<\/div>\n
\n
1892<\/div>\n
Although Cappiello did not attend an art school or private studio, he knew most of the painters working in Livorno and Tuscany at the time. He exhibited a large canvas for the first time in Florence: Femme dans un int\u00e9rieur (Livourne, Museo Municipale G. Fattori). <\/div>\n<\/div>\n
\n
1896<\/div>\n
First album of caricatures: Lanterna Magica. Illustrates a dance card (lost). <\/div>\n<\/div>\n
\n
1898<\/div>\n
Spring: Cappiello arrives in Paris to visit his brother, who works at the Stock Exchange. Brief return to Livorno for the death of his father. June: return to Paris, where he meets Puccini and the actor Novelli.<\/x>July: publication of his first two caricatures in Le Rire<\/g>: Puccini<\/g><\/g> and Novelli<\/g>. Start of the Les Contemporaines<\/em> series in Le Rire<\/em>. First caricature of R\u00e9jane<\/em> on the cover of Le Rire<\/em>. First caricatures in Le Cri de Paris (Polin, Polaire…)<\/em>. <\/div>\n<\/div>\n
\n
1899<\/div>\n
First drawings in La Rampe<\/em> and Le Sourire<\/em>. Caricature statuettes: Yvette Guilbert<\/a>, Jeanne Granier<\/a>, R\u00e9jane<\/em>.
\nLate May or early June: Nos Actrices<\/em>, an album of character portraits published by Revue Blanche<\/em>. First poster for Le Frou-Frou<\/a><\/em>. He meets
\nToulouse-Lautrec. <\/div>\n<\/div>\n
\n
1900<\/div>\n
First drawings in Le Journal (Sarah Bernhardt in “L’Aiglon”).<\/em> Two posters in particular make him a household name: Le Cachou Lajaunie<\/a><\/em> and Les Amandines de Provence<\/em><\/a>. <\/div>\n<\/div>\n
\n
1901<\/div>\n
First drawings in Le Figaro<\/em>. Two caricatures in L’Assiette au Beurre<\/em>.
\nSignificant poster activity: Corset le Furet<\/a>, Odette Dulac<\/a>, La Marquisette<\/a><\/em>… <\/div>\n<\/div>\n
\n
1902<\/div>\n
Posters: R\u00e9jane’s comeback in ” La Passerelle<\/a> “, Louise Balthy at the Folies Berg\u00e8res<\/a><\/em>.
\nNovember 28: Gens du Monde<\/em>, special issue of L’Assiette au Beurre<\/em>.<\/div>\n<\/div>\n
\n
1903<\/div>\n
April: Le Th\u00e9\u00e2tre de Cappiello<\/em>, special issue of Le Th\u00e9\u00e2tre<\/em> magazine. Designs poster for Klaus Chocolate<\/a><\/em>a veritable revolution in advertising art, followed by Katabexine<\/a> and Le P’tit Jeune Homme<\/em>. <\/div>\n<\/div>\n
\n
1904<\/div>\n
\n
January: Les Contemporains c\u00e9l\u00e8bres<\/em>, first series, advertising album for the Lef\u00e8vre-Utile firm, illustrated with 18 caricatures by Cappiello.<\/div>\n
Cappiello abandons caricature almost entirely, devoting himself essentially to posters.<\/div>\n
Posters for Le Friquet<\/a>, X\u00e9res Pedro Domecq<\/a>, Nouilles Ferrari<\/a>.<\/div>\n<\/div>\n<\/div>\n
\n
1905<\/div>\n
70 drawings by Cappiello<\/em>, a collection of previously published press cartoons, edited by H. Floury. Portraits ofAlbert Emile Sorel<\/em> and Madame Lucien M\u00fchlfeld<\/em>. Posters forAnis Infernal, Portofino-Kulm<\/a>, Bijoux Colin<\/a>, Fleur des Neiges<\/a><\/em>. <\/div>\n<\/div>\n
\n
1906<\/div>\n
Numerous posters: Menthe-Pastille<\/a>, Esperantine<\/a>, Pneu Continental<\/a>, Torrilhon<\/a>, Cognac Albert Robin<\/a>.<\/em><\/div>\n<\/div>\n
\n
1907<\/div>\n
Decoration of Louis Dreyfus’s villa in Saint-Germain-en-Laye. Numerous portraits. Important posters: Ang\u00e9lus<\/a>, Triple Sec Fournier<\/a>, Maurin-Quina<\/a><\/em>. Sets out his theory of the poster in Publicit\u00e9 Moderne.<\/em> <\/div>\n<\/div>\n
\n
1908<\/div>\n
Exhibits a portrait of Paul Adam<\/em>, his brother-in-law, at the Salon de la Com\u00e9die Humaine. Member of the organizing committee for the2nd<\/sup> Salon des Humoristes, where he exhibits. Posters for Source Parot<\/a>, X\u00e9res Quina Ruiz<\/a><\/em>. <\/div>\n<\/div>\n
\n
1909<\/div>\n
Exhibits Portrait of his wife and two children<\/em> at the Soci\u00e9t\u00e9 Nationale des Beaux-Arts (Livorno Museum), then at the Salon des Humoristes. Posters for Pippermint<\/em>, Fernet-Branca<\/a><\/em>, numerous posters published by Vercasson in South America. <\/div>\n<\/div>\n
\n
1910<\/div>\n
Exhibits at the Soci\u00e9t\u00e9 Nationale des Beaux-Arts the portrait ofHenri de R\u00e9gnier<\/a><\/em> (Mus\u00e9e d’Orsay). Famous poster for Cinzano<\/a><\/em>. <\/div>\n<\/div>\n<\/div><\/div><\/div>
\"Cappiello<\/span>

Cappiello by himself in 1904<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

\n
1911<\/div>\n
New contract with Vercasson. He makes a large number of posters: Vittel Grande Source<\/a>, Longines<\/a>, Oxo<\/a>, Florio<\/a><\/em> and above all the famous Chocolat Poulain<\/a><\/em>. <\/div>\n<\/div>\n
\n
1912<\/div>\n
Decorates the tea room, reading room and smoking room at Galeries La Fayette. Numerous posters: Marie Brizard<\/a>, Le Nil<\/a>, Bi\u00e8re du Fort-Carr\u00e9<\/a>, Sacha Guitry Jean III.<\/em> <\/div>\n<\/div>\n
\n
1913<\/div>\n
Numerous posters: Villiod<\/a>, Cigarettes Bastos<\/a>, Lampe Visseaux<\/a>, Chaussures Unic<\/a>.<\/em><\/div>\n<\/div>\n
\n
1914<\/div>\n
Some posters: Lyon International Exhibition<\/a>, l’Eclair<\/a><\/em>.<\/div>\n<\/div>\n
\n
1915<\/div>\n
Publishes a few etchings on the war and contributes to La Ba\u00efonnette<\/em>, Le Rire<\/em> and Fontasio<\/em>.<\/div>\n<\/div>\n
\n
1916<\/div>\n
Cover of the first edition of Apollinaire’s Po\u00e8te Assassin\u00e9<\/em>. Some posters: Le Trait-d’Union Franco-Italien, Thermo-Bloc<\/a>.<\/em> <\/div>\n<\/div>\n
\n
1919<\/div>\n
Starts working with Devambez. Some posters: L’Avenir<\/a>, Poudre de Luzy<\/em>. <\/div>\n<\/div>\n
\n
1920<\/div>\n
He is again a member of the Salon des Humoristes committee. Exhibits at the1st<\/sup> Salon de la Publicit\u00e9 and in Beauvais at the Salon de l’Affiche. Numerous posters: in particular Blanchisseries Franco-Am\u00e9ricaines<\/a>, Mistinguett<\/a>, Robur<\/a>, Cachou Lajaunie<\/a>.<\/em> Decoration of a grocery store on rue Jean Goujon. <\/div>\n<\/div>\n<\/div><\/div><\/div>
\"Cappiello<\/span>

Cappiello around age 39<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

\n
1921<\/div>\n
Won a lawsuit against Chocolat Poulain, which had partially reproduced and modified his poster. Numerous posters for France and Italy, Bitter Campari<\/a>, Caf\u00e9 Martin<\/a>, Imperm\u00e9ables Pirelli<\/a> <\/em>. In November 1921, he signs an exclusive contract with Devambez, the sole dealer for Nouvelles Affiches Cappiello. <\/div>\n<\/div>\n
\n
1922<\/div>\n
Exhibits poster models at the Venice Biennale and at the French Institute in New York. Numerous posters in France and Italy: Exposition Coloniale de Marseille<\/a>, Parapluie-Revel<\/a>, Restaurant Poccardi<\/a>.<\/em> <\/div>\n<\/div>\n
\n
1923<\/div>\n
February-March: private exhibition of all his work at Devambez. Posters for the opening of the Th\u00e9\u00e2tre de l’Etoile<\/a>, P\u00e2tes Ferrand-Renaud, Royat<\/a><\/em>. <\/div>\n<\/div>\n
\n
1924<\/div>\n
Posters for France, Italy and Spain: Ricql\u00e8s<\/a>, Caf\u00e9 con Leche Iberia<\/a>, Bal de la Couture Parisienne<\/a><\/em>.<\/div>\n<\/div>\n
\n
1925<\/div>\n
Posters for Peugeot<\/a>, Tana<\/a>, Biscotti Wamar<\/a>, L’Electrification, Studebaker<\/a>.<\/em><\/div>\n<\/div>\n
\n
1926<\/div>\n
Posters for Louis Doize<\/a><\/em> cigarettes , l’Eau des Abatilles<\/a>, La Baule.<\/em><\/div>\n<\/div>\n
\n
1927<\/div>\n
Posters forLaurens<\/em> cigarettes <\/a>, Lane Borgosesia<\/a>.<\/em><\/div>\n<\/div>\n
\n
1928<\/div>\n
Designs ballet sets and costumes, first for Sacha Guitry, then for Leonide Massine. Self-portrait<\/em> commissioned by the Uffizi Gallery in Florence. Posters for L’Ami du Peuple<\/a>, Becuwe<\/a>.<\/em> <\/div>\n<\/div>\n
\n
1929<\/div>\n
Important posters for Savora<\/em><\/a><\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>
\n
1930<\/div>\n
Tapestry cards for the Manufacture Nationale de Beauvais on the theme of parrots.
\nIllustrates Voltaire’s The Princess of Babylon<\/em>. Important posters for O Cap<\/a><\/em>, Le Cuir<\/em><\/a> which mark an evolution in his poster art. <\/div>\n<\/div>\n
\n
1931<\/div>\n
Exhibits his Perroquets<\/em> tapestries, made by the Manufacture Nationale de Beauvais, at the Exposition Coloniale. Important poster for the Bouillon Kub<\/a><\/em>. <\/div>\n<\/div>\n
\n
1932<\/div>\n
Exhibits at the Salon des Humoristes, for which he designs the poster. Poster for Dubonnet<\/a>, Marianne.<\/em> <\/div>\n<\/div>\n
\n
1933<\/div>\n
Posters for Beurre Gautier<\/em>, La<\/em> France de Bordeaux et du Sud-Ouest<\/em>.<\/div>\n<\/div>\n
\n
1934<\/div>\n
Important posters for Bally<\/a>, l’\u0152uvre<\/a>, le Lorrain<\/a>.<\/em><\/div>\n<\/div>\n
\n
1935<\/div>\n
Fresco decoration of the bar at Dupont restaurant<\/a>, boulevard Barb\u00e8s. Exhibits at the Salon des Humoristes, participates in the Salon de l’Enseigne. <\/div>\n<\/div>\n
\n
1936<\/div>\n
Participates in the Milan Triennale and the Exposition de l’Affiche Fran\u00e7aise in Prague.<\/div>\n<\/div>\n
\n
1937<\/div>\n
La Force Motrice<\/a><\/em>decoration for the Advertising Pavilion at the 1937 Exposition. Cappiello was Vice-President of the advertising class. Posters for the Exposition Paris 1937<\/a> <\/em>and theWelcoming of France.<\/em> <\/div>\n<\/div>\n
\n
1938<\/div>\n
Exhibits a large canvas, Les Dormeuses<\/em>, at the Salon de la Soci\u00e9t\u00e9 Nationale des Beaux-Arts (Mus\u00e9e des Beaux-Arts de Lyon). Some posters: Mossant<\/a>, Semaine de l’enfance<\/a><\/em> <\/div>\n<\/div>\n
\n
1939<\/div>\n
Takes part in the “Affiche en couleurs de Ch\u00e9ret \u00e0 nos jours” exhibition<\/em> at the Conservatoire des Arts et M\u00e9tiers.<\/div>\n<\/div>\n<\/div><\/div><\/div>
\"Cappiello<\/span>

Cappiello around the age of 47<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

\n
1941<\/div>\n
Series of illustrations of Rimbaud’s poems<\/a> (unpublished).<\/div>\n<\/div>\n
\n
1942<\/div>\n
On his death, Cappiello left us a considerable body of work, the subject of numerous exhibitions and retrospectives.<\/div>\n<\/div>\n
\n
1947<\/div>\n
Retrospective at the Mus\u00e9e des Arts D\u00e9coratifs<\/a> in Paris.<\/div>\n<\/div>\n
\n
1960<\/div>\n
Retrospective at the Casa della Cultura in Livorno.<\/div>\n<\/div>\n
\n
1961<\/div>\n
Exhibition at the Palais Saint Pierre in Lyon.<\/div>\n<\/div>\n
\n
1962<\/div>\n
Exhibition at the Mus\u00e9e d’Art et d’Histoire de Gen\u00e8ve.<\/div>\n<\/div>\n
\n
1981<\/div>\n
Retrospective at the Grand Palais<\/a> in Paris.<\/div>\n<\/div>\n
\n
1993<\/div>\n
Exhibition at the Mona Bismark Foundation in Paris.<\/div>\n<\/div>\n
\n
1994<\/div>\n
Exhibition in Saint-R\u00e9my-de-Provence (France).<\/div>\n<\/div>\n
\n
2003<\/div>\n
Exhibition at the Mus\u00e9e des Beaux Arts de Lyon.<\/div>\n<\/div>\n<\/div>
\"Leonetto<\/span>

Leonetto Cappiello's signature in May 1922<\/p><\/div><\/div><\/div>

Biography taken and completed from: ‘Les Dossiers d’Orsay – Cappiello 1875 – 1942’, p186 and 187 \u00a9 R\u00e9union des Mus\u00e9es Nationaux, Paris 1981, ‘Dossiers d’Orsay’<\/p>\n<\/div><\/div><\/div><\/div><\/div>

Bibliography<\/h2><\/div>

Apart from exhibition catalogs, the main books on Cappiello are the following:<\/p>\n<\/div>

\n
1946<\/div>\n
Jacques Vi\u00e9not: “L. Cappiello sa vie et son oeuvre” (Preface by Jean Cocteau) – Editions de Clermont.<\/div>\n<\/div>\n
\n
1978<\/div>\n
“Cappiello et la Belle Epoque” (Preface by Jacques de Lacretelle) – Editions Sciaky.<\/div>\n<\/div>\n
\n
2004<\/div>\n
Jack Rennert: ” Cappiello – The posters of Leonetto Cappiello<\/a> ” – Editions The Poster Art Library.<\/div>\n<\/div>\n
\n
2011<\/div>\n
Marie-Laure Souli\u00e9-Cappiello: “Cappiello – Catalogue raisonn\u00e9 des caricatures”<\/a> – Editions Sillage.<\/div>\n<\/div>\n
\n
2016<\/div>\n
Francesca Cagianelli: ” Leonetto Cappiello (1875 – 1942) Oltre L’Affiche<\/a> ” – Editions Libreria Universitaria.<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"100-width.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-135805","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nBiography - Catalogue raisonn\u00e9 de Leonetto Cappiello<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cappiello.fr\/en\/biography\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Biography\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cappiello.fr\/en\/biography\/\" \/>\n<meta property=\"og:site_name\" content=\"Catalogue raisonn\u00e9 de Leonetto Cappiello\" \/>\n<meta property=\"article:modified_time\" content=\"2026-04-12T13:57:44+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cappiello.fr\\\/en\\\/biography\\\/\",\"url\":\"https:\\\/\\\/cappiello.fr\\\/en\\\/biography\\\/\",\"name\":\"Biography - 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