Muxha, a Czech who had left his country at the age of 17, had acquired a small reputation as an illustrator in Paris. On Christmas night 1894, while he was correcting proofs in a printing shop, he learned that the actress had requested a new poster for Gismonda before New Year's Day. Muxha was sent to the Théâtre de la Renaissance. The result left the printers doubtful, but the diva was enthusiastic and immediately signed a six-year contract with the artist, entrusting him with the creation of her posters, sets and costumes.

And the city went wild for these new posters, which passionate hands went so far as to cut them out, at night, to collect them. What did this lithography have to suddenly dethrone Toulouse-Lautrec or Jules Chéret, the undisputed masters of the poster? A new format, almost life-size, a woman with an ethereal silhouette, topped with lilies and haloed by a golden mosaic, halfway between the Byzantine saint and the muse of the Floralies, and above all, far from the usual gaudy colors, a palette of pastel blues of an ineffable softness. Nine posters were to follow: the Lady of the Camellias, Lorenzaccio, Hamlet, Medea ... the career of Muxha was launched.

Source : Connaissance des Arts