PLEASE SEE PHOTO FOR DETAILS AND CONDITION OF THIS NEW POSTER
SIZE OF POSTER PRINT - 12 X 18 INCHES
DATE OF ORIGINAL PRINT, POSTER OR ADVERT - 1932
At PosterPrint Shop we look for rare & unusual ITEMS OF commercial graphics from throughout the world.
The PosterPrints are printed on high quality 48 # acid free PREMIUM GLOSSY PHOTO PAPER (to insure high depth ink holding and wrinkle free product)
Most of the PosterPrints have APPROX 1/4" border MARGINS for framing, to use in framing without matting.
MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5.
As decorative art these PosterPrints give you - the buyer - an opportunity to purchase and enjoy fine graphics (which in most cases are rare in original form) in a size and price range to fit most all.
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DESCRIPTION OF ITEM: additional information:
ARTIST:
McClelland Barclay (1891 – 18 July 1943) was an American illustrator. By the age of 21, Barclay's work had been published in The Saturday Evening Post, Ladies' Home Journal, and Cosmopolitan. He was commissioned as a lieutenant in the Naval Reserve in 1938 and following the Japanese attack on Pearl Harbor he went on active duty. At the time of his death, in 1943, he was a Lt. Commander. Born in St. Louis in 1891, Barclay's mother died when he was 17. He was sent to Washington, DC, to live with his aunt and uncle, Edward and Lucy McClelland, after whom he had been named. He studied first at the Art Institute of Chicago, and later at the Art Students League in New York City, where he studied figure drawing with George Bridgman and illustration with Thomas Fogarty. Barclay also attended the St. Louis School of Fine Arts (now the School of Art, Washington University); there he studied under the school's founder, Halsey Ives. He was also a student in the Corcoran School of Art in Washington DC. During World War I, Barclay was awarded a prize by the Committee on National Preparedness in 1917 for his poster "Fill the Breach." The next year, he designed naval camouflage under the direction of William Mackay, Chief of the New York District of the Emergency Fleet Corporation. During the 1920s and 1930s, Barclay's images were selected for use by art directors for the nation's most popular periodicals including Collier's, Country Gentleman, Redbook, Pictorial Review, Coronet, Country Life, The Saturday Evening Post, The Ladies' Home Journal, Cosmopolitan, and a host of movie magazines. During the 1930s, he began painting movie poster art for Hollywood studios, including Paramount Pictures and Twentieth Century Fox. Barclay was considered a superstar in the film industry during the late 1930s and early 1940s. Barclay was one of the first artists to paint World War II pin-up girl, Betty Grable. In 1930, the General Motors Corporation selected Barclay's "Fisher Body Girl" for a series of advertisements, and she quickly became as popular as "The Gibson Girl" and "The Christy Girl". He used his second wife Helene, 19 years old, as the model for the iconic Fisher Autobody image. Helene later appeared in magazine advertisements and was so well published with her languid body plastered across the country on billboards, that she was recognized wherever she went. He also illustrated advertisements for A&P, Eaton Paper Company, Elgin Watches, Humming Bird Hosiery, and Lever Brothers, amongst others. He also illustrated advertisements for Whitman's Chocolates, Texaco, and Camel and Chesterfield brand cigarettes. Because Barclay was known for his illustrations of "striking women", he earned a judging position at the Miss America 1935 pageant. His posters and camouflage designs earned him Naval commission. Barclay was a member of the Art Students League, the Chicago Art Club, the Society of Illustrators, the Association of Arts and Industries, and the Artists Guild. Barclay did not limit himself to painting. In the late 1930s, he set up a small company to reproduce jewelry and fabricate utilitarian figures for ashtrays, bookends, desk sets, lamps, and other articles for home and office use. These products were fabricated out of cast grey metal with a thick bronze plate finish and they retailed for just a few dollars. The company, which he named the McClelland Barclay Arts Products Corporation, made him little money.
The Art Deco style, which originated in France just before World War I, had an important impact on architecture and design in the United States in the 1920s and 1930s. The most famous examples are the skyscrapers of New York City including the Empire State Building, Chrysler Building, and Rockefeller Center. It combined modern aesthetics, fine craftsmanship and expensive materials, and became the symbol of luxury and modernity. While rarely used in residences, it was frequently used for office buildings, government buildings, train stations, movie theaters, diners and department stores. It also was frequently used in furniture, and in the design of automobiles, ocean liners, and everyday objects such as toasters and radio sets. In the late 1930s, during the Great Depression, it featured prominently in the architecture of the immense public works projects sponsored by the Works Progress Administration and the Public Works Administration, such as the Golden Gate Bridge and Hoover Dam. The style competed throughout the period with the modernist architecture, and came to an abrupt end in 1939 with the beginning of World War II. The style was rediscovered in the 1960s, and many of the original buildings have been restored and are now historical landmarks.
The Art Deco style had been born in Paris, but no buildings were permitted in that city which were higher than Notre Dame Cathedral (with the sole exception of the Eiffel Tower). As a result, the United States soon took the lead in building tall buildings. The first skyscrapers had been built in Chicago in the 1880s in the Beaux-Arts or neoclassical style. In the 1920s, New York architects used the new Art Deco style to build the Chrysler Building and the Empire State Building. The Empire State building was the tallest building in the world for forty years.
The decoration of the interior and exterior of the skyscrapers was classic Art Deco, with geometric shapes and zigzag patterns. The Chrysler Building, by William Van Alen (1928–30), updated the traditional gargoyles on Gothic cathedrals with sculptures on the building corners in the shape of Chrysler radiator ornaments.
Another major landmark of the style was the RCA Victor Building (now the General Electric Building), by John Walter Cross. It was covered from top to bottom with zig-zags and geometric patterns, and had a highly ornamental crown with geometric spires and lightning bolts of stone. The exterior featured bas-relief sculptures by Leo Friedlander and Lee Lawrie, and a mosaic by Barry Faulkner that required more than a million pieces of enamel and glass.
While the skyscraper Art Deco style was mostly used for corporate office buildings, it also became popular for government buildings, since all city offices could be contained in one building on a minimal amount of land. The city halls of Los Angeles, California and Buffalo, New York were built in the style, as well as the new capital building of the State of Louisiana.
There was no specific Art Deco style of painting in the United States, though paintings were often used as decoration, especially in government buildings and office buildings. In the 1932 the Public Works of Art Project was created to give work to artists unemployed because the Great Depression. In a year, it commissioned more than fifteen thousand works of art. It was succeeded in 1935 by the Federal Arts Project of the Works Progress Administration, or WPA. prominent American artists were commissioned by the Federal Art Project to paint murals in government buildings, hospitals, airports, schools and universities. Some the America's most famous artists, including Grant Wood, Reginald Marsh, Georgia O'Keeffe and Maxine Albro took part in the program. The celebrated Mexican painter Diego Rivera also took part in the program, painting a mural. The paintings were in a variety of styles, including regionalism, social realism, and American scenic painting.
A few murals were also commissioned for Art Deco skyscrapers, notably Rockefeller Center in New York. Two murals were commissioned for the lobby, one by John Steuart Curry and another by Diego Rivera. The owners of the building, the Rockefeller family, discovered that Rivera, a Communist, had slipped an image of Lenin into a crowd in the painting, and had it destroyed. The mural was replaced with another by the Spanish artist José Maria Sert.
The Art Deco style appeared early in the graphic arts, in the years just before World War I. It appeared in Paris in the posters and the costume designs of Léon Bakst for the Ballets Russes, and in the catalogs of the fashion designers Paul Poiret. The illustrations of Georges Barbier, and Georges Lepape and the images in the fashion magazine La Gazette du bon ton perfectly captured the elegance and sensuality of the style. In the 1920s, the look changed; the fashions stressed were more casual, sportive and daring, with the woman models usually smoking cigarettes. American fashion magazines such as Vogue, Vanity Fair and Harper's Bazaar quickly picked up the new style and popularized it in the United States. It also influenced the work of American book illustrators such as Rockwell Kent.
In the 1930s a new genre of posters appeared in the United States during the Great Depression. The Federal Art Project hired American artists to create posters to promote tourism and cultural events.
Art Deco Dogs! What a fabulous combination!
The fascination with speed and all things streamlined in the Art Deco era even influenced the popularity of certain breeds of dogs. The sleek lines of the Greyhound made it the ideal fashion accessory. It appeared in photos and fashion illustrations of the day complementing the pure, long lines of the female silhouette of the era.
The tall and elegant Borzoi with its graceful curved tail was popularized by Queen Alexandra, who was presented with her dog Alex by Tsar Nicholas of Russia. The dignity of the Borzoi and its origin in the Russia of the Ballet Russes with all its exotic associations also made this dog popular for the fashion conscious of the day.
It was inevitable that the Saluki, whose mummified remains were found in the tombs of the Pharoahs, and is one of the oldest pure bred dogs in the world should become popular in the Art Deco era.
The classic Erté? image of a woman and a dog "Symphony in White" could well be a Saluki, or perhaps a Greyhound.
Of course, the love of dogs meant that images of their favourite hounds would have to appear on pins and brooches so they could be remembered at all times. There was a plethora of dog pins available in every conceivable material from the beginning of the century, with little Scottie dogs and charms in Celluloid being mass produced. The Greyhound, Borzoi and Saluki forms created the perfect silhouette for an elegant brooch.
Also popular were the Pekinese, the Dachshund, the Poodle with its outrageous haircut, all kinds of Terriers, and the French Bulldog.
The English Bulldog also came into its own in the Churchill era, with lots of pins and brooches being made of that less than elegant creature.
The Great Dane was the ultimate in power and elegance, with its height and sleek coat. The perfect 1930s accessory.
Many Art Deco artists used dogs in their work. Louis Icart was a very popular artist at the time and a famous painter of animals. His paintings included Scotties, Poodles, Greyhounds and Borzois among others.
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