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Chéret's posters of the 1890s include Saxoléine and Palais de glace, both of which typify his romantic vision of fin-de-siècle women (the 'chérettes', as they came to be called), while Bal au Moulin Rouge (1889) and Loie Fuller (1893) precede and relate directly to the same subjects of his younger colleague Toulouse-Lautrec.
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