DOCSLIB.ORG

Art Nouveau 1 / 74

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Nouveau 1 / 74 GRAPHIC DESIGN HISTORY / Art NOUVeaU 1 / 74 Art Nouveau 1 Review 2 2 La Belle Époque 6 3 Poster Artists 20 4 Elsewhere 51 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / REVieW 2 / 74 1 Explain “Pictures of the Floating World.” Review Ukiyo-e © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / REVieW 3 / 74 1 Explain “Pictures of the Floating World.” Review 2 Ukiyo-e What was “Japonsim,” where did it start and when? © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / REVieW 4 / 74 1 Explain “Pictures of the Floating 3 World.” What made Hokusai famous? Review 2 Ukiyo-e What was “Japonsim,” where did it start and when? © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / REVieW 5 / 74 WORKBOOK Working from his Brooklyn art studio, Japanese artist Takuji Hamanaka uses the same centuries-old techniques to make his contemporary woodblock prints that Hokusai and many others used to make their prints. Does his Japanese heritage give him a stronger line of access to the ukiyo-e process than a non-Japanese person? What about the fact that he’s working in Brooklyn, as opposed to a location with stronger ties to the heritage of ukiyo-e such as Kyoto, Tokyo (formerly called Edo), or another town in Japan? Is he devaluing the technique by using abstract imagery rather than traditional subjects and motifs? © Kevin Woodland, 2020 Takuji Hamanaka, Pour, 2019 GRAPHIC DESIGN HISTORY / Art NOUVeaU 6 / 74 1871–1914 La Belle Époque France’s “Beautiful Epoch” was a time when the culture and the arts flourished. © Kevin Woodland, 2020 Pierre-Auguste Renoir, Bal du moulin de la Galette, 1876 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 7 / 74 Economic Prosperity • New products from around the world • People have more leisure time and the ability to enjoy Paris’s nightlife • Flourishing of the arts • Paris attracts expats in large numbers © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 8 / 74 © Kevin Woodland, 2020 Alphonse Mucha, Waverly Cycles, circa 1897 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 9 / 74 © Kevin Woodland, 2020 World Fair of 1900 in Paris GRAPHIC DESIGN HISTORY / Art NOUVeaU 10 / 74 1890–1910 Art Nouveau Borrowing stylistic characteristics from Ukiyo-e, Art Nouveau was an international decorative style that flourished for two decades around the turn of the 20th century. © Kevin Woodland, 2020 Victor Horta, Hôtel Tassel, Brussels, Belgium, 1894 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 11 / 74 Art Nouveau encompassed all the design arts • architecture • dishes • furniture • spoons • product design • chairs • fashion • door frames • poster design • staircases • packaging • factories • advertising • subway entrances • teapots • houses © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 12 / 74 As with the Arts and Crafts movement, it was held in the Art Nouveau period that aesthetic values should be combined with high standards of craftsmanship, and that works of art should be both beautiful and functional. The boundaries between fine art and the applied arts became blurred in the fields of furniture design, silverware and architecture, paintings, graphic art, jewellery, fashion and glassware. EUROPEANA © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 13 / 74 © Kevin Woodland, 2020 Hector Guimard, Paris Métro entrance (Replica), Designed 1901, now in chicago GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 14 / 74 © Kevin Woodland, 2020 Hector Guimard, Paris Métro entrance, 1901, now at Toledo Museum of Art GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 15 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 16 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 17 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 18 / 74 1890–1910 Motifs • Vine tendrils • Flowers (rose) • Flowers (lily) • Birds (peacocks) • Female form Art Nouveau’s identifying visual quality is an organic, plantlike line. MEGGS © Kevin Woodland, 2020 Poster for Cafe Rajah, Henri Meunier, 1897 GRAPHIC DESIGN HISTORY / Art NOUVeaU / LA Belle ÉpoQUE 19 / 74 Early Modernism • Victorians sought solutions through established historical approaches • “Modernists” adopted a new international ornamental style • Elegant motifs aligned with nature and often distinguished by free and graceful lines. © Kevin Woodland, 2020 Waverly Cycles, Alphonse Mucha, circa 1897. General Electric logo, 1892. General Electric logo, 1900. GRAPHIC DESIGN HISTORY / Art NOUVeaU 20 / 74 1890–1900 Poster Artists Nightlife was celebrated and perpetuated by the poster work of numerous Parisian artists who contributed to the citie’s visual culture and pushed the vision of Art Nouveau into the public sphere. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 21 / 74 1841–1917 Eugène Grasset • Important early link between Victorian style and Art Nouveau • Sympathetic to the Arts & Crafts aesthetic of William Morris • Worked for Sarah Bernhardt before her contract with Alphonse Mucha © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 22 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 23 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 24 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 25 / 74 1836–1932 Jules Chéret • Regarded as a master of Belle Époque poster art • “Father of the modern poster” • Drew directly onto lithographic stone • Innovative spattering technique • Depicted young liberated women enjoying life In France, the Belle Époque was epitomised by the posters of Henri Toulouse-Lautrec (1864-1901) and Jules Chéret (1836-1932), both of whom were influenced by Japanese Ukiyo-e prints. Chéret was a painter and lithographer who became celebrated as a master of Belle Époque poster art. EUROPEANA © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 26 / 74 Posters and advertising became a dominant means of mass communication throughout Europe at the end of the 19th century. The newly developed three-stone lithography process made dazzling colours available and advertising became a popular medium for many artists. EUROPEANA © Kevin Woodland, 2020 Jules Chéret GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 27 / 74 This exuberant image of the American dancer Loie Fuller captures the spirit of sensuality and excitement in the cabaret culture of fin-de-siècle Paris. Fuller was an important attraction at the 1900 Paris world’s fair, embodying Art Nouveau with her innovative choreography and diaphanous silk costumes illuminated by multicolored electric lights. THE METROPOLITAN MUSEUM OF ART © Kevin Woodland, 2020 Jules Chéret, Folies-Bergère, La Loïe Fuller, 1893 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 28 / 74 1862–1928 Loie Fuller • American actress and dancer • Pioneer of both modern dance and theatrical lighting techniques • Moved to Paris in 1892 seeking artistic appreciation she couldn’t get in the United States • Performed regularly at Folies Bergères in Paris © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 29 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 30 / 74 © Kevin Woodland, 2020 Loie Fuller, Danse Serpentine, filmed by the Lumière Brothers, 1897 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 31 / 74 1864–1901 Henri de Toulouse-Lautrec Henri De Toulouse-Lautrec had turned obsessively to drawing and painting after breaking both hips in an accident at age thirteen. Further growth of his legs was stunted, leaving him crippled. He became a master draftsman in the academic tradition after moving to Paris two years later. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 32 / 74 © Kevin Woodland, 2020 Henri De Toulouse-Lautrec GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 33 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 34 / 74 Japanese art, impressionism, and Degas’s design and contour were big influences on him. © Kevin Woodland, 2020 Henri De Toulouse-Lautrec in the studio (left), Edgar Degas, L’etoile (right) GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 35 / 74 Drawing directly on the lithographic stone, he often worked from memory with no sketches and used an old toothbrush that he always carried to achieve tonal effects through a splatter technique. He haunted Paris cabarets and bordellos, watching, drawing, and developing a journalistic, illustrative style that captured the night life of la belle époque (the beautiful era), a term used to describe glittering late- nineteenth-century Paris. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 36 / 74 1859–1923 Théophile-Alexandre Steinlen • Born in Lausanne, Switzerland • Moved Montmartre Quarter of Paris with his wife in their early twenties • Became associated with Le Chat Noir where he received numerous poster commissions • His daughter Colette was featured in much of his work © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 37 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 38 / 74 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / Art NOUVeaU / Poster Artists 39 / 74 1860–1939 Alphonse Mucha Mucha’s distinct illustrative approach involving
Load more

Recommended publications
  • Pop Art Media Group
    Pop Art Media Group Outdoor Advertising, Event Publicity and Print June 2018 Pop Art Media Group Window Graphics Festival Advertising 6-sheet Illuminated Lamppost units 48-sheet, Hyde Park Corner Pop Art is the Leeds specialist for masterminding outdoor and experiential advertising campaigns. We first set up shop in 1991, printing and distributing posters for local gigs amid a burgeoning Leeds 90’s music scene. We have since evolved into a team of experienced professionals collaborating with clients in various market sectors from local businesses to some of the largest global brands. Students A GeneraǗon Y Pop Art Media Group C Youth B GeneraǗon X Street Sites Poster Drums Advertising Trailers 4-sheet Trinity Arcade T-Shirts Our established portfolio of high profile sites across Leeds and other major UK cities, as well as on-site media opportunities at local events and the UK’s most loved national festivals has helped us build a reputation for highly targeted, cost effective campaigns. Our full in-house production enables fast turnaround and keeps costs down. Our portfolio and range of services has grown over the last six months with the addition of new large format outdoor locations in Leeds and increased printing capacity. Pop Art Media Group Stage backdrops Digital Display Promotional Events Internal Poster Sites Portfolio capacity as follows; 8m x 2m full motion digital billboard 96 sheet billboards x 2 48-sheet billboards x 3 16-sheet billboards x 1 6-sheet illuminated panels x 140 4-sheet poster drum and framed sites x 600+ • Combined Opportunity-to-see (OTS) figures in excess of 2 million per week • Discounts available for multiple bookings across our media network.
    [Show full text]
  • Master Artist of Art Nouveau
    Mucha MASTER ARTIST OF ART NOUVEAU October 14 - Novemeber 20, 2016 The Florida State University Museum of Fine Arts Design: Stephanie Antonijuan For tour information, contact Viki D. Thompson Wylder at (850) 645-4681 and [email protected]. All images and articles in this Teachers' Packet are for one-time educational use only. Table of Contents Letter to the Educator ................................................................................ 4 Common Core Standards .......................................................................... 5 Alphonse Mucha Biography ...................................................................... 6 Artsits and Movements that Inspired Alphonse Mucha ............................. 8 What is Art Nouveau? ................................................................................ 10 The Work of Alphonse Mucha ................................................................... 12 Works and Movements Inspired by Alphonse Mucha ...............................14 Lesson Plans .......................................................................................... Draw Your Own Art Nouveau Tattoo Design .................................... 16 No-Fire Art Nouveau Tiles ............................................................... 17 Art Nouveau and Advertising ........................................................... 18 Glossary .................................................................................................... 19 Bibliography .............................................................................................
    [Show full text]
  • Pictorial Modernism PICTORIAL MONDERNISM
    ANM102 | HISTORY OF GRAPHIC AND WEB DESIGN CHAPTER 14 Pictorial Modernism PICTORIAL MONDERNISM The Beggarstaffs • Brothers-on-law, James Pryde and William Nicholson opened an advertising design studio in 1894 and to protect their reputations as fine artists, they named it The Beggarstaff Brothers. They developed a new technique that was later called collage. By cutting pieces of paper, moving them around and pasting in position on a board, they created flat plans of color where the edges of the shapes were “drawn” with scissors. • Unlike Art Nouveau, the Beggarstaffs forged a new beginning of design focused on powerful colored shapes and silhouettes rather than organic and decorative form. PICTORIAL MODERNISM 2 PICTORIAL MONDERNISM Poster Design in Europe • The European poster in the first half of the 20th century was greatly influenced by the modern-art movements surrealism, cubism, and dadaism. Designers were aware of the need to use pictorial references in their posters as a way to visually enhance and ultimately communicate more persuasively their views. Influenced mostly by cubism and constructivism, poster artists combined expressive and symbolic images as well as total visual organization on the picture plane. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 3 POSTER DESIGN The Beggarstaffs • poster for Harper’s Magazine, 1895 PICTORIAL MODERNISM 4 POSTER DESIGN The Beggarstaffs • poster for Don Quixote, 1896 • never printed because the director/producer of the play felt the image was a bad likeness of Quixote. PICTORIAL MODERNISM 5 POSTER DESIGN Dudley Hardy • British painter who joined The Beggarstaffs in creating posters and advertising design • Theatrical poster for The Gaiety Girl, 1898 • Developed a formula for theatre poster design where letters and images appeared on a flat plane of color PICTORIAL MODERNISM 6 PICTORIAL MONDERNISM Plakastijl • A design school originating in Germany— the name means “poster style.” • The traits of Plakastijl are usually bold, straight lettering with a very simple design.
    [Show full text]
  • The Inventory of the Alvin Epstein Collection #1717
    The Inventory of the Alvin Epstein Collection #1717 Howard Gotlieb Archival Research Center Epstein, Alvin #1717 2/17/06 Preliminary Listing I. Professional Materials. Box 1 A. Files, re: American Repertory Theater, unless noted; may include reviews; scores; scripts; notes; correspondence; printed materials; legal materials; photographs; artwork; audio material. 1. AAlliance for the Development of Theater Arts, Inc.@ [F. 1] 2. AAmerican Repertory Theater.@ [F.1-3] 3. AAspen Musical Festival.@ [F. 4] 4. ABeckett, Samuel.@ [F. 5] 5. AContracts.@ [F. 5-6] 6. AThe Cabinet of Dr. Caligari.@ [F. 7] 7. ACaligula - Yale Repertory Theater.@ [F. 8] 8. ACarnegie Hall.@ 9. ACharlie in the House of Rue,@ includes photographs; slides. 10. AThe Cherry Orchard.@ 11. AClerambard,@ includes printed material; telegram; photographs. [F. 9] 12. AColette,@ includes printed material. [F. 10] 13. AColette Scores.@ [F. 11] 14. ACrossing Niagra,@ includes printed material; telegram. [F. 12] 15. ACrimes and Crimes.@ 16. ADear Liar.@ [F. 13] Box 2 17. ADoctor=s Dilemma.@ [F. 1] 18. ADoing Life,@ includes contract. 19. ADon Juan.@ 20. ADream of the Red Spider.@ [F. 2] 21. ADynamite Tonite,@ includes sub-files: a. AYale Repertory Theater,@ includes 2 contracts, 11/14/06. b. ANew York,@ includes contract, 2/23/67. 22. AHamlet.@ 23. AOn Ne Badine Pas Avec L=Amour (No Trifling With Love),@ includes original sketches. [F. 2-4] 24. AOpera,@ includes printed material. [F. 5] 25. ARevue Material.@ 26. ASolider=s Tale.@ [F. 6] 27. AStory Theater.@ [F. 7] 28. ASalzburg American Seminar.@ 29. ATartuffe,@ includes printed material. [F. 8] 30. ATempest,@ American Repertory Theater and Yale Repertory Epstein, Alvin (2/17/06) Theater, MS, 200 p.; includes score; photograph.
    [Show full text]
  • The Art of Reading: American Publishing Posters of the 1890S
    6. Artist unknown 15. Joseph J. Gould Jr. 19. Joseph Christian Leyendecker 35. Edward Penfield 39. Edward Penfield CHECKLIST The Delineator October, 1897 (American, ca. 1876–after 1932) (American, 1875–1951) (American, 1866–1925) (American, 1866–1925) All dimensions listed are for the sheet size; Color lithograph Lippincott’s November, 1896 Inland Printer January, 1897 Harper’s July, 1897 Harper’s March, 1899 9 9 height precedes width. Titles reflect the text 11 /16 × 16 /16 inches Color lithograph Color lithograph Color lithograph Color lithograph 9 1 1 1 3 3 as it appears on each poster. The majority Promised Gift of Daniel Bergsvik and 16 /16 × 13 /8 inches 22 /4 × 16 /4 inches 14 × 19 inches 15 /8 × 10 /4 inches of posters were printed using lithography, Donald Hastler Promised Gift of Daniel Bergsvik and Promised Gift of Daniel Bergsvik and Museum Purchase: Funds Provided by Promised Gift of Daniel Bergsvik and but many new printing processes debuted Donald Hastler Donald Hastler the Graphic Arts Council Donald Hastler 7. William H. Bradley during this decade. Because it is difficult or 2019.48.2 (American, 1868–1962) 16. Walter Conant Greenough 20. A. W. B. Lincoln 40. Edward Henry Potthast THE ART OF READING impossible to determine the precise method Harper’s Bazar Thanksgiving Number (American, active 1890s) (American, active 1890s) 36. Edward Penfield (American, 1857–1927) of production in the absence of contemporary 1895, 1895 A Knight of the Nets, 1896 Dead Man’s Court, 1895 (American, 1866–1925) The Century, July, 1896 documentation,
    [Show full text]
  • Australian & International Posters
    Australian & International Posters Collectors’ List No. 200, 2020 e-catalogue Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW p: (02) 9663 4848 e: [email protected] w: joseflebovicgallery.com CL200-1| |Paris 1867 [Inter ­ JOSEF LEBOVIC GALLERY national Expo si tion],| 1867.| Celebrating 43 Years • Established 1977 Wood engra v ing, artist’s name Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) “Ch. Fich ot” and engra ver “M. Jackson” in image low er Address: 103a Anzac Parade, Kensington (Sydney), NSW portion, 42.5 x 120cm. Re- Postal: PO Box 93, Kensington NSW 2033, Australia paired miss ing por tions, tears Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 and creases. Linen-backed.| Email: [email protected] • Website: joseflebovicgallery.com $1350| Text continues “Supplement to the |Illustrated London News,| July 6, 1867.” The International Exposition Hours: by appointment or by chance Wednesday to Saturday, 1 to 5pm. of 1867 was held in Paris from 1 April to 3 Novem­­ber; it was the second world’s fair, with the first being the Great Exhibition of 1851 in London. Forty-two (42) countries and 52,200 businesses were represented at the fair, which covered 68.7 hectares, and had 15,000,000 visitors. Ref: Wiki. COLLECTORS’ LIST No. 200, 2020 CL200-2| Alfred Choubrac (French, 1853–1902).| Jane Nancy,| c1890s.| Colour lithograph, signed in image centre Australian & International Posters right, 80.1 x 62.2cm. Repaired missing portions, tears and creases. Linen-backed.| $1650| Text continues “(Ateliers Choubrac.
    [Show full text]
  • Pop Impressions : [Brochure] Europe/USA
    Pop impressions : [brochure] Europe/USA Author Museum of Modern Art (New York, N.Y.). Department of Prints and Illustrated Books Date 1999 Publisher The Museum of Modern Art, Department of Prints and Illustrated Books Exhibition URL www.moma.org/calendar/exhibitions/183 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art SomPI o o 4v cb ^ Jhe Museum of Modorn Art Library Moh* /"yJLIa POPIMPRESSIONS EUROPE/USA the medium. At Hamilton's urging, in 1964 London's Printsand Multiples from The Museum ofModern Art Institute of Contemporary Arts published a ground Pop art pervaded the culture of the 1960s and became breaking portfolio of twenty-four screenprints by as intertwined with the lifestyle of its time more than any many artists. The project launched the medium as a vital other aesthetic movement of the twentieth century. It tool for creative expression among contemporary flourished out of an era of unprecedented economic British artists, many of whom made their first screen- prosperity, whose manifestations became the fodder for print for this project. Several other adventurous and far- Pop's artistic upheaval.The broad appeal of its accessi sighted British publishers, including Editions Alecto and ble imagery and vivid, bright designs permanently Petersburg Press,who understood printmaking's poten expanded the audience for art. tial as the ideal vehicle to meld Pop's audacious imagery Printed images permeated the Pop vision, and fun with its democratic ideals, undertook ambitious projects damental principles of printmaking —including concepts with artists ranging from Peter Blake and David Hock- of transference and repetition —underlay the artistic ney to Allen Jones and Jim Dine.
    [Show full text]
  • Rare Posters
    Public Auction #009 Rare Posters Conjuring, Circus, and Allied Arts For sale at public auction March 26 2011 at 11:00 am Exhibition March 22 - 25 Potter & Potter Auctions, Inc. 3729 N. Ravenswood Ave. -Suite 116- Chicago, IL 60613 Thank you for downloading the digital edition of this catalog. Hard copies can be purhased at our website, www.potterauctions.com. To view detailed, color images of each lot and to place bids online for items in this catalog, please visit our partner website, www.liveauctioneers.com. Introduction Magic is the oldest of the theatrical arts. Its earliest origins was frequently shown with diminutive red devils or imps were in Shamanism and the priesthood. By the time of ancient perched on his shoulder or whispering (presumably arcane Egypt, clever conjurors were using many of the same tricks secrets) in his ear. Some of these portraits include a background performed by magicians today to convince the masses of their which suggests that the person pictured is a magician or the supernatural power. In the thousands of years since its earliest portrait itself is stylized in such a manner as to suggest that recorded beginnings, magic moved from the temples of ancient the person is a mystery worker or, at the very least, an exotic times to the street corners and fairs of the Middle Ages, then personality. Notable in this regard are the portrait lithographs into taverns and drawing rooms and, finally, onto the stage and of Chung Ling Soo, Alexander, and Cater. Also in this category television. are some posters which only vaguely suggest an illusion being When the art of conjuring split from its religious and performed, such as the poster for The Great Rameses.
    [Show full text]
  • Whether Contemplating a Dabble in the World of Art Investment Or A
    CommercialWhether contemplating a dabble in the world of art investment or a stultifying blank wall, gems from the golden age of Art Deco menswear advertising offer a perfect solution. gainsby christian chensvold here comes a point in the life of any instinctively elegant get from lithography is pure, solid colour,” says poster dealer man where he must face the question of how to appoint his Jim Lapides of the International Poster Gallery in Boston, living quarters. And, those for whom sartorial obsession Massachusetts. “It’s not dots like in the offset printing used for Tis all-consuming will likely find inner tranquillity in covering newspapers. Lithography provides a richness of texture, even the walls of their home — their haven from the vulgar world that the texture of the stone, and depth of colour — there aren’t lies beyond — with depictions of masculine panache. many artisans around today who can do it.” If that sounds like you, look no further than these European The most famous maker of menswear posters was the posters from a golden age when stylish advertising images Swiss clothing firm of PKZ, which stood for Paul Kehl, Zurich. greeted the boulevardier as he strolled, boutonniere abloom Dazzling in their variety and creativity, from the 1920s to the and malacca cane in hand, along the continent’s urban 1960s, they made some of the finest examples of the genre. One avenues. The original Pop Art posters — viewable cost-free of its masterpieces, a single minimalist button depicted by artist on trolleys, in train stations and on street-side kiosks — rose Otto Baumberger, hangs in New York’s Museum of Modern Art.
    [Show full text]
  • A C C Jj P T Iiid
    ACCjJPTiiiD FACULTY OF GRAHUATF qTnn,r?HE "NEW WOMAN" IN FIN-DE-SIECLE ART: tS FRANCES AND MARGARET MACDONALD by 1ATF _______________' i2 Janice Valerie Helland ~ --- ------ B.A., University of Lethbridge, 1973 M.A., University of Victoria, 1984 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY : in the Department of History in Art We accept this thesis as conforming to the required standard _________________ Dr. Ej^Tumasonis, Supervisor (Department of History in Art) Dr. J. Osborne, Departmental Member (Department of History in Art) Dr. A. Wel<gj)^*DepartmentaI Member (Department of Histor^in Art) Dr. A. McLa^fen, Outside Member (Department of History) _________________________________________ Dr. A. Fontaine, Outgj.de Member (Department of Biology) ________________________________________ Dr. B./Elliott, External Examiner (University of Alberta) ® JANICE VALERIE HELLAND, 1991 University of Victoria All rights reserved. Thesis may not be reproduced in whole or in part, by mimeograph or other means, without the permission of the author. 11 Supervisor: Dr. E, Turoasonis ABSTRACT Scottish artists Margaret and Frances Macdonald produced their most innovative art during the last decade of the nineteenth century. They received their training at the Glasgow School of Art and became known for their contribution to "the Glasgow Style," Scotland's answer to Continental Art nouveau and Symbolism. Although they inherited their visual vocabulary from the male-dominated language of the fin-de-siècle. they produced representations of women that differed from those made by their male colleagues. I suggest that these representations were informed by the female exper,i*nce and that they must be understood as such if we, as historians, are to discuss their art.
    [Show full text]
  • L'affichomania
    FICHOMAN L’AF IA THE PASSION FOR FRENCH POSTERS THE PASSION FOR FRENCH POSTERS 1 FICHOMAN L’AF IA THE PASSION FOR FRENCH POSTERS elebrating the inexhaustible spirit of fin-de-siècle Paris, L’Affichomania: The Passion for French Posters features approximately 62 lithographic posters, ephemera, and videos by the five grand masters of the medium: Jules Chéret, the father of the modern poster; Eugène Grasset, who explored feminine beauty in rich, medieval settings; Alphonse Mucha, known for depicting sensuous women and the whiplash curves of their tresses; Théophile-Alexandre Steinlen, creator of some of the best-loved images of the era; and finallyHenri de Toulouse- Lautrec, who pointed the way to modernism. These pioneering artists defined a never-before-seen and never forgotten art form: the color poster. L’Affichomania explores the achievements of these artists in concert with the poster’s role in French society, which includes its effect on the life of the Parisian street, the rise of advertising, the entertainment district of Montmartre, and the changing representations of women. 1 2 L’AFFICHOMANIA These pioneering artists defined a never-before-seen and never forgotten art form: the color poster. Showcasing some of the most iconic era known as the Belle Époque. Drawn Cover Alphonse Mucha, Princess Hyacinth, 1911, color lithograph, photograph by John Faier, © The images of the time, the exhibition is from the Driehaus Collection of Fine Richard H. Driehaus Museum, 2015 1 Jules Chéret, composed of six groupings, five of and Decorative Arts, and organized by Folies-Bergère/La Loïe Fuller, 1893, color lithograph, photograph by John Faier, © The Richard H.
    [Show full text]
  • Labyrinthine Depictions and Tempting Colors: the Synaesthetic Dances of Loïe Fuller As
    Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Caroline J. Kappel November 2007 2 © 2007 Caroline J. Kappel All Rights Reserved 3 This dissertation titled Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography by CAROLINE J. KAPPEL has been approved for the Interdisciplinary Arts and the College of Fine Arts by William F. Condee Professor of Interdisciplinary Arts Charles A. McWeeny Dean, College of Fine Arts 4 ABSTRACT KAPPEL, CAROLINE J., Ph.D., November 2007, Interdisciplinary Arts Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography (246 pp.) Director of Dissertation: William F. Condee This study explores Loïe Fuller’s use of synaesthesia to bring together various sensations so as to create a dreamlike effect in her choreography, while at the same time presenting a visual representation of symbolist ideals. On the music-hall stage she created popular ideas that had otherwise been restricted to small experimental theaters. In the visual arts, she became a constant public image of poster art as well as paintings, sculptures, and prints. She also dramatically presented the visualization of avant-garde color theories, while simultaneously representing symbolist ideals of the literary world. By tracing her explorations with the other arts in the context of various artistic, scientific, and movement theories, Fuller’s work can serve as a model for interdisciplinary studies in the fine arts.
    [Show full text]