CASSANDRE by Roland Mouron, Estate of A.M.CASSANDRE

The Revolutionary of Urban Walls

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In the effervescent Europe of the 1920s and 1930s, as metropolises transformed and advertising invaded public spaces, one name quickly established itself as synonymous with excellence and innovation: A.M.CASSANDRE. Born Adolphe Jean-Marie Mouron in 1901 in Ukraine and trained at the École des Beaux-Arts in Paris, this exceptional creator would completely reinvent the language of commercial posters.

Cassandre appeared at a pivotal moment in European visual history. The poster, already popularized by artists like Jules Chéret or Alphonse Mucha at the end of the 19th century, needed to adapt to new urban realities: increased speed of movement, multiplication of visual stimuli, emergence of new products and services linked to modernization.

In this context, Cassandre understood that an aesthetic revolution was necessary. The poster could no longer be content with being an illustration accompanied by explanatory text – it needed to become a visual shock, an instant message capable of marking minds in the incessant flow of modern life.

As Walter Benjamin observed about the transformations of perception in the modern era: "Reception in distraction, which is affirmed with growing intensity in all domains of art, is the symptom of profound modifications in perception." Cassandre, intuitively, perfectly integrated this new condition of the gaze.

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A Unique Visual Grammar: Between Construction and Sensation

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The strength of Cassandre's work lies in his ability to create a true visual grammar, a coherent system of forms, rhythms, and signs that structures his entire body of work. This systematic approach is explained by his complete artistic training and multiple influences.

Trained at the École des Beaux-Arts in Paris, imbued with the avant-garde research of his time – cubism, futurism, constructivism, Bauhaus – Cassandre conceived his posters as visual syntheses where each element is carefully calculated to produce maximum impact. There is in him an almost scientific rigor in composition, coupled with deep artistic sensitivity.

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His instantly recognizable style is based on several fundamental principles:

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• Refined Geometric Forms​

Cassandre radically simplifies forms, reducing them to their essential structures. A train, an ocean liner, a human face become under his pencil assemblages of geometric volumes – cones, cylinders, planes – that express the very essence of the subject represented. This simplification is never impoverishment, but rather intensification: by eliminating the superfluous, Cassandre reveals the intrinsic power of forms.

Fernand Léger, one of the great painters of modernity, could have said of his work: "Cassandre purifies the image until it reaches its most eloquent form."

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• Dynamic and Forced Perspectives​

Space, in Cassandre's posters, is never static. He uses bold perspectives, often exaggerated or distorted, which create a sense of movement and depth. These perspectives do not necessarily respect traditional rules – they serve expressiveness and visual impact.

This dramatic approach to space sometimes recalls the research of German expressionist cinema or Soviet avant-gardes, while maintaining a distinctly French elegance and readability. Powerful diagonals, vertiginous plunging views, and monumental low-angle shots structure space as would a theater or film director.

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• Strategic Use of Letters as Graphic Forms

As an accomplished typographer, Cassandre integrates letters into his compositions not as secondary elements, but as fundamental structural components. The text is not simply applied to the image – it fully participates in the visual architecture of the poster.

This fusion between text and image constitutes one of Cassandre's major innovations. Letters become full-fledged plastic elements, participating in the rhythm, balance, and dynamics of the whole. This integrated approach heralds the subsequent developments of modern graphic design.

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• Direct Messages, Readable at a Glance

Despite the formal sophistication of his compositions, Cassandre never forgets the primary function of the poster: to effectively communicate a message. His famous maxim – "A poster must be seen like a window in motion" – perfectly summarizes this concern: the poster must capture the gaze of the moving passerby and transmit its message with absolute immediacy.

This communicational efficiency is never achieved at the expense of aesthetic quality – it is precisely in this alliance between formal beauty and clarity of message that Cassandre's genius resides.

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Icons for History: The Poster Becomes Heritage

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Cassandre's work is marked by creations that have become true visual icons of the 20th century, images that have transcended their initial advertising function to enter the world cultural heritage.

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"Normandie" (1935): The Perfect Synthesis

Undoubtedly his most famous work, the poster for the ocean liner Normandie represents the pinnacle of Cassandre's style. A monumental ship's bow, treated like an abstract architecture, emerges in space with irresistible power. The low-angle perspective accentuates the monumentality of the vessel, while subtle gradients suggest volume and mass.

This image perfectly condensed French industrial pride, technological power, and the emblematic luxury of great transatlantic crossings. More than a simple advertisement for an ocean liner, "Normandie" was a national affirmation, the visual expression of a certain idea of France – modern, powerful, elegant.

Paul Valéry, impressed by this creation, might have commented: "Cassandre has managed to translate into a single image the quintessence of our national genius – intellectual rigor allied with sensuality of forms."

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"Dubonnet" (1932-1934): The Birth of the Visual Slogan​

With his triptych for the Dubonnet aperitif, Cassandre invents an unprecedented narrative form in advertising. Three successive images show a stylized character progressively passing from sobriety to joyful inebriation after consuming the product. The text, perfectly integrated with the image, breaks down the brand name: "Dubo... Dubon... Dubonnet".

This sequence, of absolute legibility, creates a rhythm, a movement that imprints the message in the spectator's memory. The visual humor, apparent simplicity, and intelligence of the composition make this series a model of advertising effectiveness that continues to influence contemporary creators.

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A Gallery of Emblematic Works

 

His other major creations – "Étoile du Nord", "Chemin de Fer du Nord", "Pivolo" – form a gallery of works that have redefined the history of graphic design. Each of these posters enhances its subject – whether a train, a destination, or a consumer product – while imposing an innovative aesthetic vision.

With Cassandre, advertising truly becomes art, and the poster rises to the rank of a cultural object in its own right. It is no coincidence that his works are today preserved and exhibited in the world's greatest museums – from the MoMA in New York to the Centre Pompidou in Paris, and the Musée des Arts Décoratifs.

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The Invention of a Total Art

Cassandre's contribution is not limited to his individual creations, as remarkable as they are. His major contribution lies in his global conception of the poster as a form of artistic expression in its own right, integrating various disciplines and knowledge.

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The Theorist and the Pedagogue

Cassandre does not merely draw posters: he theorizes his practice, notably through his writings for the journal "Arts et Métiers Graphiques". These lucid texts expound his vision of the modern poster, its relationship to urban space, his principles of composition, and his conception of the graphic designer's role.

His thought crystallizes around a formula that has become famous: "The poster is not a painting. It is not made to be contemplated but to be read." This fundamental distinction between contemplative art and art applied to a communicational function perfectly defines Cassandre's pragmatic yet deeply artistic approach.

As a teacher, he transmits these principles to an entire generation of creators. His influence extends well beyond France, notably to the United States where he worked for several years, and as far as Japan where his approach to composition would find particular resonance.

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The Creator of Systems

 

One of the most remarkable characteristics of Cassandre's work is its systemic dimension. He does not conceive his posters as isolated works, but as elements of a coherent language. This approach is manifested particularly in the visual identities he develops for certain brands or institutions, thus anticipating later developments in identity design.

His creation of specific typefaces (Bifur, Acier, Peignot) follows this same logic: each element – image, typography, layout – contributes to a global expressive system. This integrated approach makes Cassandre one of the precursors of global design as we know it today.

 

Cassandre's Legacy: A Modern View of the World

Cassandre's influence on 20th-century graphic design is considerable. His methodical approach, his acute sense of composition, and his innovative fusion between art and communication have inspired generations of visual creators.

Beyond the formal aspects, perhaps his vision of the world constitutes his most precious legacy. Cassandre offers a modern view of reality – a view that orders, structures, and synthesizes the chaos of the industrial world. His work testifies to a faith in the human intellect's ability to give form to disorder, to create beauty from technical complexity.

As Roland Barthes wrote about other modern mythologies: "Cassandre offers us a sublimated version of modernity, where technique becomes poetry and where functionality does not exclude grace."​​​

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