Yaneff.com

"Perhaps it is the handling of silhouettes that gives this poster of a woman print fancier its appeal. The scene is a gallery interior. Gottlob has places the woman in front of a large window, and through dramatic backlighting has emphasised the dark forms. The crisp outlines of the plumed hat, the woman's delicate features, and the print she examines dominate the composition, and the stylized lettering announcing the exhibition enliven the surface... the examples of the surviving originals of the poster were (very rare), which also exists in reduced versions made for the fifth album of Les Maitres de L'affiche in 1900, the year after it was designed. The inclusion of it in that series was a boon for Gottlob, ensuring attention he has yet to receive for his paintings of Parisian Boulevards" (Wolfe, 44)

"Although Gottlob was a versatile graphic artist, his output included very few posters. Fortunately, we have this one for an exhibition in which he was one of the participants. It's "a most interesting design, featuring a woman going through a display cradle of prints. The shadows on the front of her dress and the use of bright yellow in the background create the effect of backlighting and give the scene an air of intimacy it would otherwise lack" (Wine Spectator, 108). And whether Gottlob planned it this way or not, the scarlet curtains and slender window mullions handily divide the top into areas that organize all the necessary information"(Rennert, PAI-XXXVI, 321)

Fernand-Louis Gottlob was born in Paris. He was a student of Jobbe-Duval, Laporte and G. Fuchs. He worked as a portraitist, graphic artist, and book illustrator during the period of the Belle Epoque. In 1891 he began to exhibit at the official Salons and by 1897 he worked as a caricaturist for illustrated papers in Paris, including "Le Rire", "Sourire", and "Le Journal Amusant". He was particularly well-known for his humorous illustrations. Nothing is known of his life or career after the beginning of the century.
ginning of the century.