The natural wall art for a hair salon is Art Nouveau — above all Alphonse Mucha, whose flowing-haired women are the direct ancestors of modern beauty imagery. A salon is one of the few rooms where a p

Alphonse Mucha’s 1896 poster for La Dame aux Camélias, made for Sarah Bernhardt, is pure ‘style Mucha’ — a tall, quiet panel of a woman haloed in stars and flowers, drawn in the flowing line and soft

A French bistro’s natural wall art is the poster art of its own culture: the café and cabaret scenes of Steinlen and Toulouse-Lautrec, the apéritif advertisements of Chéret and Cappiello. These images

Théophile-Alexandre Steinlen’s Two Cats (1894) comes from the Montmartre artist who, more than any other, made the cat a fixture of Belle Époque art. A committed observer of working-class Paris and a

The right posters for a cocktail bar are the ones that invented its atmosphere: the Belle Époque cabaret and apéritif posters of 1890s Paris. Toulouse-Lautrec, Jules Chéret and Leonetto Cappiello drew

Jules Chéret’s 1891 poster for the Casino de Paris comes from the man who invented the modern colour poster. Two decades before Toulouse-Lautrec, Chéret had turned the Paris street into an open-air ga

Glare is what makes a framed print look cheap in a bright room, and it has two cures: anti-reflective (‘museum’) glass, and placement that keeps the frame from facing a window or downlight. But good f

Will Bradley’s posters for The Chap-Book in 1894–95 are American Art Nouveau at its boldest — sinuous black-and-white ornament advertising a small Chicago literary magazine. Self-taught, steeped in Au

For a public room, 16×20 inches is the safe baseline and 24×36 the feature-wall size. But the right answer comes from three things: the resolution of your file, the wall and viewing distance, and the

Leonetto Cappiello’s 1900 poster for Absinthe J. Édouard Pernot is one of the founding images of modern advertising. Where the reigning master, Jules Chéret, filled his posters with swirling crowds, C