DESCRIPTION : Up for sale is a GIANT and EXTYREMELY BEAUTIFUL collection of 35 ART NOUVEAU reproducted POSTERS. The POSTERS were tipped in a HUGE ALBUM which was published over 50 years ago in 1971. The album was named "POSTERS 1900" . Published by ACADAMY EDITIONS . Arranged by Siegfried Wichmann. It originaly consisted of 38 giant ( Around 15" x 21" ) TIPPED IN colorful ART NOUVEAU POSTERS . 3 of the HOHLWEIN posters are missing. A few of the ARTISTS are BEARDSLEY , CAPPIELLO , MUCHA , LAUTREC and many others. The posters were removed off the GIANT BOOK due to shipp considerations. POSTERS size is around 17" x 24". The 35 POSTERS are being offered for $5 apiece. CONDITION : The THIRTY FIVE POSTERS are clean and intact and ready for immidiate FRAMING. ( Pls look at scan
for accurate AS IS images ) . Will be sent inside a protective rigid packaging .
PAYMENTS : Payment method
accepted : Paypal & All credit cards.
SHIPPMENT : SHIPP worldwide
via registered airmail is $ 29. Will be sent inside a protective packaging . Handling around 5 -10 days after payment.
Art Nouveau (/ˌɑːrt nuːˈvoʊ, ˌɑːr/; French: [aʁ nuvo]) is an international style of art, architecture, and applied art, especially the decorative arts. The style is known by different names in different languages: Jugendstil in German, Stile Liberty in Italian, Modernisme in Catalan, and also known as the Modern Style in English. It was popular between 1890 and 1910 during the Belle Époque period,[1] and was a reaction against the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers.[2] Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.[3]
One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk ("total work of art") that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.[3]
The first Art Nouveau houses and interior decoration appeared in Brussels in the 1890s, in the architecture and interior design of houses designed by Paul Hankar, Henry van de Velde, and especially Victor Horta, whose Hôtel Tassel was completed in 1893.[4][5][6] It moved quickly to Paris, where it was adapted by Hector Guimard, who saw Horta's work in Brussels and applied the style for the entrances of the new Paris Métro. It reached its peak at the 1900 Paris International Exposition, which introduced the Art Nouveau work of artists such as Louis Tiffany. It appeared in graphic arts in the posters of Alphonse Mucha, and the glassware of René Lalique and Émile Gallé.
From Belgium and France, Art Nouveau spread to the rest of Europe,[citation needed] taking on different names and characteristics in each country (see Naming section below). It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities (Turin and Palermo in Italy; Glasgow in Scotland; Munich and Darmstadt in Germany), as well as in centres of independence movements (Helsinki in Finland, then part of the Russian Empire; Barcelona in Catalonia, Spain).
By 1914, and with the beginning of the First World War, Art Nouveau was largely exhausted. In the 1920s, it was replaced as the dominant architectural and decorative art style by Art Deco and then Modernism.[7] The Art Nouveau style began to receive more positive attention from critics in the late 1960s, with a major exhibition of the work of Hector Guimard at the Museum of Modern Art in 1970.[8] ****** Art Nouveau posters and graphic arts flourished and became an important vehicle of the style, thanks to the new technologies of color lithography and color printing, which allowed the creation of and distribution of the style to a vast audience in Europe, the United States and beyond. Art was no longer confined to art galleries, but could be seen on walls and illustrated magazines.
The Art Nouveau posters and illustrations almost always feature women, representing glamor, beauty and modernity. Images of men are extremely rare. Posters and illustrations are highly stylized. approaching two dimensions, and frequently are filled with flowers and other vegetal decoration. The major artists who created work in this domain included Aubrey Beardsley in Britain, The Czech Alphonse Mucha and Eugène Grasset, Jules Chéret, Georges de Feure and the painter Henri de Toulouse-Lautrec in France, Koloman Moser in Vienna, and Will H. Bradley in the United States.
Art Nouveau poster designers, especially in the earlier years, had to work with the early technology of lithography, which in early versions limited the number of colors they could use. They are also very much influenced by Japanese prints, especially those of Hiroshige, with their flat planes and two dimensions, which were being popularized expositions in Paris during this period.
Britain
The first appearance of the curving, sinuous forms that came to be called Art Nouveau is traditionally attributed to Arthur Heygate Mackmurdo (1851–1942) in 1883.[1] They were soon adapted by pre-Raphaelite painter Edward Burne-Jones and Aubrey Beardsley in the 1890s. They were following the advice of the art historian and critic John Ruskin, who urged artists to "go to nature" for their inspiration.[2]
In Britain, one of the first leading graphic artists in what became Art Nouveau style was Aubrey Beardsley (1872–1898). He began with engraved book illustrations for Le Morte d'Arthur, then black and white illustrations for Salome by Oscar Wilde (1893), which brought him fame. In the same year, he began engraving illustrations and posters for the art magazine The Studio, which helped publicize European artists such as Fernand Khnopff in Britain. The curving lines and intricate floral patterns attracted as much attention as the text.[3]
Design for trellis wallpaper by William Morris (1862)
Design for trellis wallpaper by William Morris (1862)
A page of the Rubaiyat of Omar Khayam print and floral design by William Morris and painting by Edward Burne-Jones
A page of the Rubaiyat of Omar Khayam print and floral design by William Morris and painting by Edward Burne-Jones
Bookcover of Arthur Mackmurdo, Wren's City Churches, 1883
Bookcover of Arthur Mackmurdo, Wren's City Churches, 1883
The Peacock Skirt, by Aubrey Beardsley, (1892)
The Peacock Skirt, by Aubrey Beardsley, (1892)
First issue of The Studio, with cover by Aubrey Beardsley (1893)
First issue of The Studio, with cover by Aubrey Beardsley (1893)
France
The artist-designer Jules Chéret (1835–1932) was a notable early creator of French Art Nouveau posters. He helped turn the advertising poster into an art form. The son a family of artisans, he apprenticed with a lithographer and also studied at the École nationale supérieure des arts décoratifs. Finding little work in Paris, he went to London, and designed furniture for a time, but then returned to Paris and had a great success in 1858 with a poster for Orpheus in the Underworld by Jacques Offenbach. He still struggled, and returned to London to design brochures. His breakthrough came in 1866 when a French perfume and toiletries maker, Eugene Rimmel, commissioned him to make advertising posters for his products. Rimmel funded Chéret to open the first color lithography shop in Paris. He experimented with different techniques and materials, first working in two colors, then 1869 advancing to three colors, black, red and combination color. He produced a wide variety of very popular posters, depicting idealized contemporary women, in posters for cosmetics and then for theater performances and ice skating rinks, including a famous poster for the Palais de Glace ice-skating rink in Paris (1896).
Divan Japonais lithograph by Henri de Toulouse-Lautrec (1892–93)
Divan Japonais lithograph by Henri de Toulouse-Lautrec (1892–93)
Poster for the dancer Loie Fuller by Jules Chéret (1893)
Poster for the dancer Loie Fuller by Jules Chéret (1893)
Folies Bergère, Fleur de Lotus, by Jules Chéret (1893)
Folies Bergère, Fleur de Lotus, by Jules Chéret (1893)
Poster for Grafton Galleries by Eugène Grasset (1893)
Poster for Grafton Galleries by Eugène Grasset (1893)
Poster by Eugène Grasset for Marquet Ink (1894)
Poster by Eugène Grasset for Marquet Ink (1894)
The Swiss-French artist Eugène Grasset (1845–1917) was another early creator of French Art Nouveau posters. He moved to Paris in 1871 and began designing ceramics, jewelry, furniture and tapestries. He gradually moved toward the graphic arts, and did an exceptional series of book illustrations and advertising posters. He helped decorate the famous cabaret Le Chat noir in 1885 and made his first posters for the Fêtes de Paris. He made a celebrated poster of Sarah Bernhardt in 1890, and a wide variety of book illustrations.
Henri de Toulouse-Lautrec (1864–1901) was also a major figure in the early style. He began working together with two of the Les Nabis painters, Pierre Bonnard and Édouard Vuillard, who turned him toward illustration. His Art Nouveau career was brief; he died at the age of 36 in 1901.
Alphonse Mucha (1860–1939), born in Moravia in what is now the Czech Republic, trained as a painter in Munich for two years and then moved to Paris in 1887, where he struggled to survive. His moment came in December 1894, when he was asked, on very short notice, to create a poster for a new play, Gismonda, starring Sarah Bernhardt. His poster, a full-length portrait of Bernardt in costume against a background of Byzantine mosaic and sinuous lettering, became an immediate classic of Art Nouveau. Bernhardt signed him to a five-year contract, and, with each successive play and poster, his fame increased. Bernardt herself set aside a number of each new poster to sell them to collectors. Mucha was asked to produce posters for a variety of clients, from travel resorts to winemakers. The female figure were always highly stylized, and embellished with floral decoration and curling whiplash lines or The backgrounds were two-dimensional, filled with ornament but no depth. Mucha himself rejected the term Art Nouveau for his work, saying that "art cannot be new". He moved to Prague in 1910 to pursue more serious historical painting, a cycle of large-scale works called The Slav Epic.[4]
Examples of work by Alphonse Mucha
Gismonda (1894)
Gismonda (1894)
Biscuits Lefèvre-Utile (1896)
Biscuits Lefèvre-Utile (1896)
Zodiac Calendar (1896)
Zodiac Calendar (1896)
Poster for Perfect Bicycles (1902)
Poster for Perfect Bicycles (1902)
Théophile-Alexandre Steinlen (1859–1923) was another important early Art Nouveau figure, whose work focused more on ordinary people and life in Montmartre, and political causes; besides making posters for cabarets, he illustrated socialist and anarchist publications. He made a famous poster for a cabaret called Le Chat Noir in 1896, with typical Art Nouveau curved lines and asymmetric print. Curling cat tails featured in several of his works.[5]
Based on the success of his theater posters, Mucha made posters for a variety of products, ranging from cigarettes and soap to beer biscuits, all featuring an idealized female figure with an hourglass figure. He went on to design products, from jewellery to biscuit boxes, in his distinctive style.[6]
Paul Berthon (1872–1909) was a notable figure of the later French Art Nouveau. A student of Eugène Grasset, he helped develop chromolithography, a more refined version of lithography which gave more accurate colors as well as the possibility of highlighting some colors over others. He specialized in portraits of women, either portraying them as idealized figures, taken from the style of the Pre-Raphaelites, as in the illustration for the cover of L'Hermitage, or as seducers, as in his poster for the Folies Bergere, depicting the dancer and courtesan Liane de Pougy luring men into a spider's web.[7]
Poster for the Chat Noir cabaret by Théophile Steinlen (1896)
Poster for the Chat Noir cabaret by Théophile Steinlen (1896)
Motocycles Comiot by Théophile-Alexandre Steinlen
Motocycles Comiot by Théophile-Alexandre Steinlen
Poster by Théophile-Alexandre Steinlen (1895)
Poster by Théophile-Alexandre Steinlen (1895)
Sainte-Marie-des-Fleurs by Paul Berthon (1897)
Sainte-Marie-des-Fleurs by Paul Berthon (1897)
Poster for L'Ermitage Review, by Paul Berthon (1897)
Poster for L'Ermitage Review, by Paul Berthon (1897)
Poster for dancer Liane de Pougy at the Folies Bergere, Paul Berthon (1890s)
Poster for dancer Liane de Pougy at the Folies Bergere, Paul Berthon (1890s)
Manuel Orazi (1860–1934) was born in Rome, but came to work in Paris in 1892 as an illustrator for novels and magazines. In 1895 he made a series of symbolist illustrations, called The Magic Calendar. His best known Art Nouveau work is the poster for La Maison Moderne, a shop of Art Nouveau interior design which competed with that of Samuel Bing, which combined a dozen aspects of Art Nouveau into a single illustration. Orazi also made illustrations of Sarah Berhnardt, including a poster of her as the Byzantine Empress Theodora, surrounded by mosaic patterns.[8]
Belgium
The first Art Nouveau architecture had appeared in Belgium in 1893, and Belgian graphic artists were quick to use the style. The most prominent was Henri Privat-Livemont, a member of the symbolist movement, who made his reputation as a member of the Circle of Artists of Schaerbeek, a group of artists in that neighborhood of Brussels. He became highly successful for the discreetly erotic women in his advertising posters, filled with the sinuous lines that were trademark of Art Nouveau.
Poster for lighting fixtures by Henri Privat-Livemont (1897)
Poster for lighting fixtures by Henri Privat-Livemont (1897)
Poster for Rajah Coffee by Henri Privat-Livemont (1898)
Poster for Rajah Coffee by Henri Privat-Livemont (1898)
Poster for Robette Absinthe by Henri Privat-Livemont (1898)
Poster for Robette Absinthe by Henri Privat-Livemont (1898)
Poster for biscuits and chocolate, by Henri Privat-Livemont (1898)
Poster for biscuits and chocolate, by Henri Privat-Livemont (1898)
Henri Privat-Livemont, Poster for the Palais des Femmes, Paris Exposition (1900)
Henri Privat-Livemont, Poster for the Palais des Femmes, Paris Exposition (1900)
Henri Meunier (1873-1922) was another very successful Belgian graphic designer and painter (1873–1922). The curling Art Nouveau lines appeared in each poster, in costumes or in the rising steam from a cup of coffee. His posters were so popular that he sold them to collectors by subscription, a practice soon followed by other prominent Art Nouveau poster designers, including Alphonse Mucha.
Henri Meunier concert poster (1896)
Henri Meunier concert poster (1896)
Poster by Henri Meunier for Rajah Tea (1897)
Poster by Henri Meunier for Rajah Tea (1897)
Henri Meunier, The hour of silence (1897)
Henri Meunier, The hour of silence (1897)
Munich Secession and Jugendstil
The Munich Secession was an artistic movement which broke away from the more conservative fine arts establishment in Munich in 1892. Its creation inspired the better-known Vienna Secession a few years later.[9]
The Jugendstil, or "Young Style", was centered in Munich, and was the German variant of Art Nouveau. Its most prominent graphic artist was Otto Eckmann, who produced numerous illustrations for the movement's journal, Jugend, in a sinuous, floral style that was similar to the French style. He also created a type style based upon Japanese calligraphy. Joseph Sattler was another graphic artist who contributed to the style through another artistic journal, called Pan. Sattler invented a type face often used in the Jugendstil.
Another important German graphic artist was Josef Rudolf Witzel (1867–1925), who produced many early covers for Jugend with curving, floral forms which helped shape the style.
Cover of Pan magazine by Joseph Sattler (1895)
Cover of Pan magazine by Joseph Sattler (1895)
Cover of Jugend by Otto Eckmann (1896)
Cover of Jugend by Otto Eckmann (1896)
Cover of Jugend by Otto Eckmann (1896)
Cover of Jugend by Otto Eckmann (1896)
Cover of Jugend issue #40 by Josef Rudolf Witzel (1896)
Cover of Jugend issue #40 by Josef Rudolf Witzel (1896)
Cover of Jugend magazine (1896)
Cover of Jugend magazine (1896)
Restaurant poster by Josef Rudolf Witzel (1896)
Restaurant poster by Josef Rudolf Witzel (1896)
Vienna Secession
The Vienna Secession was movement with a very different aesthetic and style from the Belgian and French Art Nouveau. The sinuous lines and floral designs of the early style were largely replaced by geometric patterns and symmetry. The painter Gustav Klimt made a venture into graphic arts, designing the poster for the Secession Exhibition of 1898. The major graphic artists of the Secession included Joseph Maria Olbrich, who designed posters for the exhibitions of the Secession, and also designed the gilded cupola for the Secession's gallery in central Vienna.
Poster for the 1898 Secession exhibition in Vienna by Gustav Klimt
Poster for the 1898 Secession exhibition in Vienna by Gustav Klimt
1902 Secession, Alfred Roller
1902 Secession, Alfred Roller
1903 Exhib. Max Kurzweil
1903 Exhib. Max Kurzweil
Secession poster for the 26th exhibit, by Ferdinand Andri (1906)
Secession poster for the 26th exhibit, by Ferdinand Andri (1906)
The Secession journal Ver Sacrum was a showcase the graphics of Koloman Moser and other Vienna designers.
Poster for the Exposition on German Art and Decoration in Darmstadt by Koloman Moser (1900)
Poster for the Exposition on German Art and Decoration in Darmstadt by Koloman Moser (1900)
Ver Sacrum illustration by Koloman Moser (1899)
Ver Sacrum illustration by Koloman Moser (1899)
Illustration from Ver Sacrum by Koloman Moser (1900)
Illustration from Ver Sacrum by Koloman Moser (1900)
Poster for the dancer Gertrude Barrison by Fritz Zeymer
Poster for the dancer Gertrude Barrison by Fritz Zeymer
Exhibit poster by Koloman Moser (1907)
Exhibit poster by Koloman Moser (1907)
Festival poster by Ludwig Hohlwein (1910)
Festival poster by Ludwig Hohlwein (1910)
United States
The color lithograph advertising poster was introduced in the United States in 1893 by Harper's Magazine, which published a series of very popular posters. The rival of Scriber's was the Chapbook, which hired Will H. Bradley to design a poster in 1894 to celebrate Thanksgiving. This poster, called The Twins, with its two-dimensional format, similar to Japanese prints, and bold sinuous lines, is considered the first American Art Nouveau poster.[10]
The Art Nouveau posters in the U.S., as in Europe, featured almost exclusively women. The range of colors was muted, partly because of the limitations of early color lithography, and partly by the choice of the artist. A popular theme of the era was the peacock design. The peacock was an early Christian symbol of immortality; it was used by James McNeill Whistler to decorate a room in London, by Louis Comfort Tiffany for a celebrated stained glass window, and by Bradley for The Modern Poster, advertising a book of that name by Scribner's publishers.[10]
Art Nouveau style was especially popular for advertising bicycles, which were just becoming common. These posters were also aimed primarily at women, illustrating the freedom that a bicycle could bring.[11]
The Twins by Will H. Bradley for Chap Book magazine (1894)
The Twins by Will H. Bradley for Chap Book magazine (1894)
The Blue Lady by Will H. Bradley, The Chap Book (1894)
The Blue Lady by Will H. Bradley, The Chap Book (1894)
Will H. Bradley, Cover of Harper's Bazaar, (Easter 1896)
Will H. Bradley, Cover of Harper's Bazaar, (Easter 1896)
Poster with peacock by Will H. Bradley for Bradley - his Book (1896)
Poster with peacock by Will H. Bradley for Bradley - his Book (1896)
Poster for Columbia Bicycles by Will H. Bradley (1895)
Poster for Columbia Bicycles by Will H. Bradley (1895)
Louis John Rhead (1887–1926 was another important artist of Art Nouveau. Born in England, he studied in Paris, and moved to the United States in 1883, and became artistic director of the publishing house D. Appleton. His posters show the influence of the Pre-Raphaelite movement in England, He won a gold medal at the first international poster exposition held in Boston in 1895. He also illustrated children's books.
Edward Penfield (1866–1923) was an illustrator and then the art editor of Harper's Magazine. His work was best known for its simplicity of line, with no excess ornament, so posters could be viewed easily at a distance.
Louis John Rhead, Century Magazine Midsummer Holiday issue (1894)
Louis John Rhead, Century Magazine Midsummer Holiday issue (1894)
Louis Rhead, Poster for The Sun newspaper, January 1900
Louis Rhead, Poster for The Sun newspaper, January 1900
Edward Penfield, Harper's, June 1896 cover
Edward Penfield, Harper's, June 1896 cover
Edward Penfield, Harper's, May 1897 cover
Edward Penfield, Harper's, May 1897 cover ****** Alfons Maria Mucha[1][2] (Czech: [ˈalfons ˈmuxa] (listen); 24 July 1860 – 14 July 1939),[3] known internationally as Alphonse Mucha, was a Czech painter, illustrator and graphic artist, living in Paris during the Art Nouveau period, best known for his distinctly stylized and decorative theatrical posters, particularly those of Sarah Bernhardt.[4] He produced illustrations, advertisements, decorative panels, as well as designs, which became among the best-known images of the period.[5]
In the second part of his career, at the age of 57, he returned to his homeland and devoted himself to a series of twenty monumental canvases known as The Slav Epic, depicting the history of all the Slavic peoples of the world,[3] which he painted between 1912 and 1926. In 1928, on the 10th anniversary of the independence of Czechoslovakia, he presented the series to the Czech nation. He considered it his most important work. ****** Aubrey Vincent Beardsley (21 August 1872 – 16 March 1898) was an English illustrator and author. His black ink drawings were influenced by Japanese woodcuts, and depicted the grotesque, the decadent, and the erotic. He was a leading figure in the aesthetic movement which also included Oscar Wilde and James McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant despite his early death from tuberculosis. He is one of the important Modern Style figures. ****** Comte Henri Marie Raymond de Toulouse-Lautrec-Monfa (24 November 1864 – 9 September 1901) was a French painter, printmaker, draughtsman, caricaturist and illustrator whose immersion in the colourful and theatrical life of Paris in the late 19th century allowed him to produce a collection of enticing, elegant, and provocative images of the sometimes decadent affairs of those times.
Born into the aristocracy, Toulouse-Lautrec broke both his legs around the time of his adolescence and, due to the rare condition Pycnodysostosis, was very short as an adult due to his undersized legs. In addition to his alcoholism, he developed an affinity for brothels and prostitutes that directed the subject matter for many of his works recording many details of the late-19th-century bohemian lifestyle in Paris. Toulouse-Lautrec is among the painters described as being Post-Impressionists, with Paul Cézanne, Vincent van Gogh, Paul Gauguin, and Georges Seurat also commonly considered as belonging in this loose group.
In a 2005 auction at Christie's auction house, La Blanchisseuse, his early painting of a young laundress, sold for US$22.4 million, setting a new record for the artist for a price at auction.[1] ***** Ludwig Hohlwein (27 July 1874 in Wiesbaden – 15 September 1949 in Berchtesgaden) was a German poster artist, a pioneer of the Sachplakat style. He trained and practiced as an architect in Munich until 1911, when he moved to Berlin and switched to poster design.[1]
Early years
Hohlwein was born in the Rhine-Main region of Germany, though he and his work are associated with Munich and Bavaria in southern Germany. There were two schools of "Gebrauchsgrafik" in Germany at the time, North and South. Hohlwein's high tonal contrasts and a network of interlocking shapes made his work instantly recognizable.[citation needed]
Career
He travelled to the United States in the 1920s to conduct commercial work. A large portion of his work dates to 1912-1925. His style usually consists of sharply defined forms, bright colors, a good portion of humor and textured patterns. By 1925, he had already designed 3000 different advertisements.[citation needed]
Poster for Jasmatzi (1908)
Advertising for Hellabrunn Zoo (1912)
During World War II, he was a member of the Nazi party and worked closely with Joseph Goebbels and The Ministry of Propaganda and Enlightenment. And as an ardent nationalist, indicated by his work for the government during both World Wars, he urged other artists to join the effort when Hitler came to power in 1933.[2]
“May the best among us realize fully the significance of what is at stake and their own responsibility, and may we labor creatively and with conviction at the preservation of our cultural civilization and its restoration to perfectly healthy conditions.”
"Holhwein’s posters for Nazi Germany are the most dramatic examples of National Socialist realism."[3]
1910 poster for a Richard Strauss festival
His work was also part of the art competitions at the 1932 Summer Olympics and the 1936 Summer Olympics.[4] ****Leonetto Cappiello (9 April 1875 – 2 February 1942) was an Italian and French poster art designer and painter, who mainly lived and worked in Paris.[1] He is now often called 'the father of modern advertising' because of his innovation in poster design. The early advertising poster was characterized by a painterly quality as evidenced by early poster artists Jules Chéret, Alfred Choubrac and Hugo D'Alesi. Cappiello, like other young artists, worked in a way that was almost the opposite of his predecessors. He was the first poster artist to use bold figures popping out of black backgrounds, a startling contrast to the posters early norm.[2]
Biography
He was born in Livorno in Tuscany. He would die in Cannes in France. Cappiello had no formal training in art.[1] The first exhibition of his work was in 1892, when a painting was displayed at the municipal museum in Florence.[1] Some of his paintings are on display in the Museo Civico Giovanni Fattori in Livorno.[3] ***. ebay6020/208