The 1888 Barcelona Universal Exposition marked the beginning of the Modernisme style in Spain, with some buildings of Lluís Domènech i Montaner. The "Esposizione internazionale d'arte decorativa moderna" of 1902 in Turin, Italy, showcased designers from across Europe, including Victor Horta from Belgium and Joseph Maria Olbrich from Vienna, along with local artists such as Carlo Bugatti, Galileo Chini. and Eugenio Quarti. Following the 1900 Exposition, the capital of Art Nouveau was Paris. The most extravagant residences in the style were built by Jules Lavirotte, who entirely covered the façades with ceramic sculptural decoration. The most flamboyant example is the Lavirotte Building, at 29, (1901). Office buildings and department stores featured high courtyards covered with stained glass cupolas and ceramic decoration. The style was particularly popular in restaurants and cafés, including "Maxim's" at 3, "rue Royale", and "Le Train bleu" at the Gare de Lyon (1900). The status of Paris attracted foreign artists to the city. The Swiss-born artist Eugène Grasset was one of the first creators of French Art Nouveau posters. He helped decorate the famous cabaret Le Chat Noir in 1885, made his first posters for the "Fêtes de Paris" and a celebrated poster of Sarah Bernhardt in 1890. In Paris, he taught at the Guérin school of art ("École normale d'enseignement du dessin"), where his students included Augusto Giacometti and Paul Berthon. Swiss-born Théophile-Alexandre Steinlen created the famous poster for the Paris cabaret "Le Chat noir" in 1896. The Czech artist Alphonse Mucha (1860–1939) arrived in Paris in 1888, and in 1895, made a poster for actress Sarah Bernhardt in the play "Gismonda" by Victorien Sardou in Théâtre de la Renaissance. The success of this poster led to a contract to produce posters for six more plays by Bernhardt. The city of Nancy in Lorraine became the other French capital of the new style. In 1901, the "Alliance provinciale des industries d'art", also known as the "École de Nancy", was founded, dedicated to upsetting the hierarchy that put painting and sculpture above the decorative arts.