1931 GEORGES LEPAPE ART DECO SEASHELL NUDE ILLUSTRTED FASHION OCEAN COVER COV921 

DATE OF THIS  ** ORIGINAL **  ADVERTISEMENT / ADVERT / AD: 1931

DATE PRINTED ON ITEM: 

SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: 

Arguably one of the most underappreciated Art Deco artists, Georges Lepape was a French author whose fabulous pieces of painted portraiture represent a true milestone in the relationship of fashion and visual arts. Unlike many of his contemporary colleagues, this painter's artworks were heavily impacted by the aspects of Orientalism, Persian miniatures and the popular theater aesthetics of the Ballet Russes[1]. Lepape's life story was a true journey that saw him start with humble beginnings as an illustrator for Paul Poiret and eventually reaching heights by becoming one of the most famous fashion illustrators, primarily working for Vogue.
Lepape made a name for himself in 1911 when he illustrated Paul Poiret’s designs in Les Choses,  whose success brought him commissions for the covers of magazines in Paris and London, and couture designs for leading fashion houses. La Gazette du Bon Ton, an influential fashion and luxury publication targeting women of the French elite, was particularly suited to Lepape’s intricate style. The high-quality paper enhanced the dazzling beauty of the publication’s vividly colored pochoir fashion plates and added another layer of lavish opulence to the sumptuous couture depicted. Lepape was a primary contributor to the publication, along with other leading Art Deco artists and illustrators of the day, such as George Barbier and André Édouard Marty.

Lepape continued to illustrate throughout the war years and his artwork for women’s magazines reflects the themes of both hardship and duty felt by their readership.

Le Retour, a 1916 illustration for an unknown publication, captures a moment where a woman who is seated at the seashore and longingly awaits the return of her husband first glimpses her beloved soldier, who gestures to her from the nearby cliffs. Exquisitely dressed in a green polka dot gown, her prominently displayed hand with its gold wedding band highlights her status as a young wife.

The scene reflects Lepape’s skill for narrative imagery, as his fashion illustrations routinely place the viewer at a pivotal point of action in a scene. In contrast to the comparably static fashion plates of the previous century, his models are often pictured in motion, leaving the frame, or turning their backs to the viewer

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COV921

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