||he created the great L’Intransigeant poster. Cassandre’s work was seen as a bridge between the modern fine arts and the commercial arts. Despite his affinity to the fine arts he always believed there should be a separateness between disciplines. The success of his posters probably lies in his philosophy that his posters were meant to be seen by people who do not try to see them. He designed hundreds of posters, among them posters for the apéritif Pivolo (1924), the newspaper "L'Intransigeant" (1925), and Pernod (1934).
The ambitions of the paper and its editor are reflected in Cassandre’s poster design. The composition is based around a pictorial design that includes a newspaper boy, in profile, shouting the day’s top story. The newspaper
vendor is abstracted so as symbolise the editorial personnel of the paper.
idea of the paper as an intelligent force at the centre of an international
newsgathering network is given expression through two powerful symbols.
The first is the title of the paper, included as a collage of its masthead along
with the words Le Plus Fort (the biggest and best, or the strongest).