"Henri Jossot (1866-1951) Reading, 1899"Beautiful and rare drawing in Indian ink by Henri Jossot dated 1899. Very nabising style. Le Lecture de chine 29,5 x 24 cm signed and dated lower left Henri Gustave Jossot, child, does not seem to be predisposed to a career as a satirist. His rebellious character leads him to brave regularly any authority, whether paternal or academic. His widowed father remarries to a woman he does not appreciate and pushes him to become a naval officer. He protests, makes a child with the wife of the family, and marries her when his father dies. After the death of his mother and father, his daughter died of meningitis. Deeply marked, he plunges even more into his passion, drawing. Jossot began his career as a cartoonist in 1886 in the local press. Unlike Jules Grandjouan, he is not a committed artist. His career took him to Paris, where he frequented the symbolist artists of Pont-Aven. At that time, in the early 1890s, Paris floated between the barely finished Boulangism crisis and the Panama scandal that began (1893), making the French capital the center of caricature. From his beginnings in the caricature, he finds his style all arabesques in the lineage of Art Nouveau, which may also be assimilated to the Nabis, with large colored areas of Japanese, parody and more. His line is therefore particularly recognizable. Jossot began his career as a cartoonist around 1892 as a consensual humorist in La Caricature and La Butte. In 1894, Jossot presented the Salon des independants with watercolor caricatures of interest to Léon Maillard, director of the magazine La Plume, then considered as "a veritable machine for legitimizing young talents". This allowed him to multiply exhibitions such as the Salon des Cent (1894, 1895), the Salon of the National Society of Fine Arts (1895), the Salon d'Automne (1908, 1909, 1911) or the Salon des independent (1894, 1896, 1910, 1911, 1921). Leon Maillard says of him that "the arabesques of the line are the rhythmic waves of the movement, and vibrate for the poor being dispossessed". Jossot realizes the possibility of achieving a subversive and politically engaged effect through the aesthetics of deformation. Between 1897 and 1899, Jossot entered Camis as a poster artist before setting up his own studio. When La Assiette au beurre is launched, a veritable revolution in the press and press design, Jossot is one of the first designers to share the same targets: the employers, the bourgeoisie, the army, the government, the colonization, the religion, morals, etc. His style changes: his line becomes thick, the minimal legends, the simplification is maximal, the masks in the manner of the ukiyo-e become characteristic, he uses the single line of color or the flat red color that interpellate. Jossot becomes a reference, and the rest still today among connoisseurs1. In 1911, after traveling to Tunisia, where he falls in love, he settles there permanently and, abandoning completely his verve of caricaturist, paints landscapes and scenes of the daily life of Orientalist style. At the same time his cartoonist friends exile themselves (Grandjouan) or die (Aristide Delannoy) and L'Assiette au beurre disappears. Playing provocative until the end, he returned to Catholicism before converting to Islam in 1913. He then takes the name of "Abdul Karim Jossot". A pacifist, he no longer draws during the war, and even stops painting. In 1923, he followed Sheikh Ahmad al-Alawi on the path of Sufism. He then wrote The Path of Allah in 1927, but eventually moved away from Islam, renounced his Muslim surname and left his Arab clothes. In 1951, in his unpublished memoirs Drop by drop, he proclaims his atheism found and dies the same year in destitution1. In 2011, the city of Paris devotes an exhibition to the library Forney. In 2013, Éditions Finitude collected a number of chronicles published by Jossot in Tunisian newspapers, between 1911 and 1927, under the title Sauvages blancs!