(Paris 1872 - Paris 1955)
Signed ARoubille at the lower centre.
Inscribed par le temps qui court les hommes / ne marchent pas at the bottom
Further inscribed tres urgent at the lower right, and paru dans Le Rire / No. 408 1er page on the verso.
225 x 205 mm. (8 7/8 x 8 1/8 in.) [image]
319 x 245 mm. (12 1/2 x 9 5/8 in.) [sheet]
Although best known for his cartoons and drawings of comical subjects, Roubille’s skill as a draughtsman was evident in all his work. Furthermore, as one contemporary writer noted, ‘In mentioning at random the names of distinguished artists most popularly known in France by drawings of a humorous nature, that of Auguste Roubille will unhesitatingly be included. Despite the jesting character of his drawings on the covers as well as the inside of various jocular journals, he is nevertheless an artist with a profound sincerity of thought, and his work perhaps gets nearer to the true relation of art to life than much which pedantically poses with a superficial seriousness in massive gold frames.’
Roubille painted a decorative frieze for the Maison du Rire pavilion at the Exposition Universelle of 1900, as well as a series of wall panels for the fashionable Café d’Harcourt near the Sorbonne. He produced several advertising images as posters, and also provided illustrations for a handful of books, including Paul Feuillâtre’s Écho et Narcisse and Grandgoujon by René Benjamin. Like several of his contemporaries, including Théophile-Alexandre Steinlen and Kees van Dongen, Roubille worked with anarchist publications, notably the illustrated weekly L’Assiette au Beurre, with which he was closely associated between 1901 and 1905. This allowed him to further his mission, within the bounds of political satire, of illuminating the injustices of state violence and the oppression of workers.