本研究旨在探討彩色插圖海報之於19世紀晚期的視覺文化的重要性及意涵。在19世紀末的巴黎，彩色插圖海報不僅是一種炙手可熱的商業廣告媒介，也是藝術家積極探索的一種新的藝術表現形式。這種矛盾而複雜的特質，使其在現有的學術研究中處於一個不安的位置。既有的研究對插圖海報的形式特徵、媒體特性、技術和風格的發展，以及它們與19世紀末巴黎更廣泛的文化的關聯性，都沒有給予太多的關注。基於這樣的背景，本文欲以跨學科的方式，帶入社會、文化和藝術史的考察，對既有的彩色插圖海報研究作出貢獻。
本研究從兩個角度探討19世紀末巴黎的彩色插圖海報。首先，探問彩色插圖海報作為一種獨特的媒體形式與19世紀末視覺文化的互動關係。通過超越傳統的海報歷史的廣泛角度，探索彩色插圖海報與視覺文化的緊密連結，並追溯彼時巴黎的文化背景的轉變如何參與形塑彩色插圖海報的崛起及發展。其次，透過聚焦Jules Chéret（1836-1932）和Henri de Toulouse-Lautrec（1864-1901）的海報，從藝術史和文化史的角度探究彩色插圖海報的視覺語彙。藉由分析和比較這兩位藝術家描繪三個特定主題（「漂浮的世界」、女性氣質和性）的作品，探討彩色插圖海報在表述世紀末巴黎與現代性相關的文化徵候的方面所具有的潛力。

This study examines the significance and meaning of colour lithography posters by contextualising them within the visual culture of fin-de-siècle Paris. During the late nineteenth century in Paris, colour-illustrated posters became not only a popular commercial advertising medium, but also a new form of artistic expression vigorously explored by the artists. This ambivalent and complex nature of colour illustrated posters has placed itself in an uneasy position within existing scholarship. Not much scholarly attention has been paid to illustrated posters in terms of formal features, media specificity, technological and stylistic developments, and pertinence to the broader culture of late nineteenth-century Paris. Against this, the purpose of this study is to contribute to existing scholarship on the colour-illustrated poster by putting to use a wide array of social, cultural and art-historical accounts on colour lithography posters in an interdisciplinary manner.
In particular, this study addresses the colour-illustrated poster in late nineteenth-century Paris from two angles. First, I discuss the relevance of colour-illustrated posters as a distinct media form in late nineteenth-century visual culture. Through a broad perspective that extends beyond the traditional focus on the history of posters, I seek to show how colour-illustrated posters and visual culture relate to each other and explore how changes in cultural contexts influenced the rise of colour-illustrated posters and the role they played therein. Secondly, by focusing on selected posters of Jules Chéret (1836-1932) and Henri de Toulouse-Lautrec (1864-1901), I examine the visual language of colour-illustrated posters from both art-historical and cultural-historical perspectives. By analysing and comparing works by these two artists that illustrate three specific themes (“the floating world,” femininity and sexuality), I demonstrate the potential colour-illustrated posters held to illustrate central themes pertinent to the modernity of fin-de-siècle Paris.

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