She eventually sang at the popular Eldorado club, then at the Jardin de Paris before headlining in Montmartre at the Moulin Rouge in 1890.

In 1893, she urged the director Pierre Ducarre to put a roof over the garden, not only to improve acoustics, but also so that the venue could remain open even on rainy days.

[4] Taking her cue from the new cabaret performances, Guilbert broke and rewrote all the rules of music-hall with her audacious lyrics, and the audiences loved her.

Author Patrick Bade believed that Guilbert "derived her trademark black gloves from Pornocrates" a famous painting by symbolist artist Félicien Rops.

[5] She was a favorite subject of artist Henri de Toulouse-Lautrec, who made many portraits and caricatures of Guilbert and dedicated his second album of sketches to her.

She crawls, creeps with hissings, leaving behind the moiré trail of her drool...On both sides of the boneless body hang, like pitiful wrecks, tentacles in funereal gloves.

Complete negation of our genius...Poor little Chanson, faithful mirror in which men reflect themselves, are you responsible for their hideousness?

Even in her fifties, her name still had drawing power and she appeared in several silent films (including a star turn in F. W. Murnau's Faust).

Her recordings for La Voix de son maître include the famous "Le Fiacre" as well as some of her own compositions such as "Madame Arthur".

In later years, Guilbert turned to writing about the Belle Époque, and in 1902, two of her novels (La Vedette and Les Demi-vieilles) were published.

[9] Guilbert became a respected authority on her country's medieval folklore and on 9 July 1932 was awarded the Legion of Honor as the Ambassadress of French Song.