DATE OF THIS ** ORIGINAL ** ITEM: 1939 SECOND PAGE IS A MODERN ART ADVERTISEMENT FOR RHUM NEGRITA WEST AND EAST INDIES RUM MARTINIQUE FRANCE BARDINET PLANTERS PUNCH SCHENLEY - ARTIST IS JOSEPH BINDER - A BEUTIFUL MODERN ART PRINT OF A VOLCANO IN THE DITANCE IN THE TROPICS F MARTINIQUE . ARTIST: Joseph Binder (March 3, 1898 – June 26, 1972) was an Austrian graphic designer and painter. He is recognized as one of the pioneers of the modern poster, noted for his refined, stylized images and high-impact colors. Some of his best known works include posters for the 1939 New York World’s Fair, the U.S. Army Air Corps and the American Red Cross. Joseph Binder was born in Vienna on March 5, 1898. In 1912 he began a lithography apprenticeship with Waldheim Eberle printers in Vienna and then served in the Austro-Hungarian army during World War I.[1] In 1922 he enrolled at the Vienna School of Arts and Crafts (Kunstgewerbeschüle) where he studied under Berthold Löffler.[1][2] Binder was influenced by other Viennese Secessionists who taught at the school, including Koloman Moser.[3] While still a student, Binder produced commercial work through a design studio he established with several friends. The studio was named ESBETA after the initials of its founders.[2][4] One of his early honors included first prize in a poster competition sponsored by the American Red Cross.[1] In 1924, Binder married Caroline (Carla) Neuschil who supported and championed his designs throughout both their lives.[4][5] In 1924 Binder established his own studio, Wiener Graphik, in Vienna.[1][2] That year he designed a poster for the City of Vienna’s Music and Theater Festival.[1] The lithographic poster, which Binder printed himself, was a manifestation of a distinctly Viennese brand of Art Deco and marked a breakthrough in his career.[1][3][6] Important commissions followed including those for two coffee companies, Arabia and Julius Meinl.[6] From 1925 to 1929 he designed posters, packaging and logos for Vienna's premium coffee importer, the Julius Meinl Company.[7] A version of the logo he created is still in use today.[8] Other companies he developed logos for include Thonet, Semperit, and Bensdorp.[1] As early as 1926, the British magazine, Studio, published an article highlighting his work for Meinl.[1] His designs were also celebrated in the leading German design publication Gebrauchsgraphik.[7] Natural images portrayed through geometric forms and flat colors were defining characteristics of the work he created during his Viennese period.[3] In the early 1930s, Binder increasingly set his sights on the United States after he was invited to lecture at the Chicago Art Institute and the Minneapolis School of Art.[1][2] An English-language discourse on his design theories, Colour in Advertising, was published in 1934.[9] In 1936, Binder wrote an article for the American Magazine of Art in which he promoted "stylization," his word for a modern approach based on abstraction and reduction of form. He believed that the realistic approach dominating U.S. advertising at the time needed to be replaced with "modern design."[1][10] Throughout the 1930s Binder's international reputation continued to grow, fueled by the presence of his posters in exhibitions from New York to Tokyo.[11] In 1938 he officially closed his Vienna studio two years after moving to the United States.[1] The turbulence in Europe caused many European artists and designers to head to America. Binder was among those who emigrated to the United States.[12] In 1936, he established a studio and residence on Central Park South in New York City.[1][13] Breaking into the New York advertising world was challenging at first. Agencies asked him "to supply ideas" as a way to offer their clients an alternative approach to the realism prevalent in American advertising.[1][7] This was a major change from the way Binder operated his Viennese studio where he met directly with clients and designed their entire brand including trademark, packaging and advertising. In New York, Binder modified his illustration style to suit the American market. The hard edges of his cubist sensibilities softened to accommodate increasing detail, resulting in a modernist approach to pictorial realism, aided in part by the use of an airbrush.[1][3] One of his studio assistants was a young Alex Steinweiss, who began working for him in 1937. Steinweiss later became art director at Columbia Records, where he invented the modern album cover and employed airbrush techniques he had mastered in Binder's studio.[14] By the late 1930s, Binder found success in the United States. His winning entry for the 1939 New York World's Fair poster competition only served to further his reputation. As the New York Journal reported, “like a sponge, Binder absorbed the spirit of 20th century America so completely, in fact that he has produced the official poster for the World’s Fair.”[15] His highly stylized design prominently featured a glowing trylon and perishphere, the symbol of the fair. Secondary elements, including a fleet of aircraft, an express train, an ocean liner and the New York skyline, represented America's coming of age and technological prowess.[1][3] The poster's dramatic effect was heightened by Binder’s decision to depict these elements at night. According to James Craig and Bruce Barton, the fair and Binder’s poster marked the end of the Art Deco period.[16] In 1941, the Museum of Modern Art (MoMA) sponsored the National Defense Poster Competition. Binder submitted winning entries in two categories. His poster for Defense Bonds took second place and his poster for the Army Air Corps Recruiting won first place.[17][18] The Army Air Corps poster is among Binder's best-known works.[7] The simplicity of his minimalist design is striking, punctuated by flat, bold colors and changes in scale.[3] An airplane’s bright yellow wing dominates the poster as it cuts across a blue field. The Air Force's star emblem is emblazoned on the wing. Nine tiny planes fly in formation below. Type is rendered in black at the bottom of the image. In 1948, four years after he became a U.S. citizen, Binder was appointed as the Navy's principal art director; it was a position he would hold for the remainder of his career.[2] Notable assignments for the agency included a series of posters for the Navy Chaplains Division created in the 1950s. The religious orientation of this commission resulted in a series of brilliantly colored modernist interpretations of biblical scenes.[1] Binder created cover designs for several American and European magazines including House & Garden (March 1936), Fortune (multiple issues from 1937–1940), Women’s Home Companion (January 1938), Gebrauchsgraphik (multiple issues from 1930–1938), and Graphis (1948–1950).[1][7][11] During World War 2, Fortune magazine invited Binder to contribute to a series of posters the magazine published in support of the war effort.[18] Throughout the 1940s and 1950s Binder continued to receive awards in poster competitions for Travel in America, the American Red Cross, and the United Nations.[1] His commercial work also garnered recognition. Posters for Ballantine Beer and Sucrets Throat Lozenges were among designs that won awards from the Art Director’s Club New York.[1][4][19] He created memorable advertisements and posters for A&P Coffee and Jantzen Swimsuits.[13][4] Binder’s last commercial client was United Airlines. In 1957 he designed a set of eight travel posters for them. The posters depicted destinations served by the airline including Chicago, Colorado, San Francisco and Washington D.C. The design for the Washington D.C. poster is striking in its dramatic perspective of the Lincoln Memorial.[1] In the early 1930s, between lecture tours in the United States, Binder recorded his theories in Colour in Advertising. The book was published in English by the Studio Publications in 1934.[2] It is composed of two parts: an essay on color by Binder and examples of key color concepts illustrated with tipped-in color plates of contemporary poster art. The book begins with the statement "Colour is the poster-painter's chief means of creating effect."[2][9] This statement holds true in Binder's own work, as well as his assertion that that color harmony must be a harmony of contrasts if a poster is to hold the viewer’s attention.[1] Binder advises designers to consider color's physical and psychological factors. Citing Newton and Goethe, he suggests that the optical illusion of an afterimage shows that the eye is capable of producing color on its own and this connects to “our innermost human disposition. We need green to free ourselves from red. We need yellow to counterbalance blue.”[9] Regarding the psychological effects of color, Binder forwards the idea that changing the natural colors of objects, if done carefully, can create an element of surprise.[9] Binder offers his work for Arabia coffee as a case study in the practical application of color. Taking a comprehensive approach to what is now called brand design, he advocates for a consistent use of color across letterhead, brochures, posters, packaging, employee uniforms and retail architecture. "If other colors are used," he cautions, "then they must never play the most important part."[9] The second section of the book contains examples of posters by his contemporaries, including E. McKnight Kauffer, Charles Loupot, Kató Lukáts and Hanns Wagula. The posters illustrate concepts including the use of color to create mood, historical atmosphere, a sense of style or the illusion of depth.[9] Binder articulated his thoughts on modern design in “On Developing the Present-Day Style,” a 1936 article he wrote for the American Magazine of Art. In it Binder set forth his argument for a new approach based on his conviction that design should reflect the spirit of the twentieth century with art that is “constructive, functional, and dynamic.” He viewed realism as the domain of photography and urged designers to “abandon realistic representation and take up stylizing.” Stylizing, as defined by Binder, consisted of abstracting forms from nature, simplification of objects and striking applications of color. The article was illustrated with examples of work from students he had tutored while in Chicago, Los Angeles and Minneapolis.[13][10] Binder retired in 1963 and turned his focus to painting.[1] He had studied painting at the Vienna School of Arts and Crafts and always considered himself a painter first and foremost.[4] The nonobjective paintings he created were distinguished by their vibrant color fields. His work was displayed in exhibitions at galleries and museums, including the MoMA in New York and the Museum of Applied Art (MAK) in Vienna.[1][4][19] On June 25, 1972, Binder died of a heart attack while installing an exhibition of his paintings in Vienna.[1] Alongside other European designers such as Lucien Bernhard, Binder introduced the concepts of European modernism to post-war American designers including Paul Rand and Lester Beall.[20] As a founding member of Design Austria, the country’s national design association, his legacy continues through the biennial Joseph Binder Award.[19][21] The Joseph Binder Award is an international competition for graphic design and illustration. The award is funded by interest from Binder’s estate.[1] It all started with the vision of one man, Paul Bardinet. In 1857, a young liqueur maker from France took an interest in the sugar cane alcohol imported from faraway islands. Fascinated by this enchanting spirit, Bardinet set out to explore the West Indian islands to learn the craftmanship and techniques of rum making and become a true expert. From that moment on, Bardinet’s destiny lay in the Caribbean spirit. After much blending and tasting, he arrived at the perfect formula for his Caribbean rum: Negrita. For more than a century since, Negrita has built its reputation on unrivalled quality and taste. Our Master Blender carefully combines the finest rums from the best locations in the Caribbean – each one chosen for its unique flavour – to create a smooth and exquisite spirit to be shared and enjoyed. The New Yorker (stylized in all caps) is an American magazine featuring journalism, commentary, criticism, essays, fiction, satire, cartoons, and poetry. Founded as a weekly in 1925, the magazine is published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the cultural life of New York City, The New Yorker also produces long-form journalism and shorter articles and commentary on a variety of topics, has a wide audience outside New York, and is read internationally. It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric American culture, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue. The New Yorker was founded by Harold Ross (1892–1951) and his wife Jane Grant (1892–1972), a New York Times reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as Judge, where he had worked, or the old Life. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque." Although the magazine never lost its touches of humor, it soon established itself as a preeminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey's essay Hiroshima filled an entire issue. The magazine has published short stories by many of the most respected writers of the 20th and 21st centuries, including Ann Beattie, Sally Benson, Maeve Brennan, Truman Capote, Rachel Carson, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ernest Hemingway, Stephen King, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.J. Perelman, Philip Roth, George Saunders, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, and E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history. In its early decades, the magazine sometimes published two or even three short stories in an issue, but in later years the pace has remained steady at one story per issue. The nonfiction feature articles (usually the bulk of an issue) cover an eclectic array of topics. Subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy. The magazine is known for its editorial traditions. Under the rubric Profiles, it has published articles about prominent people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay, and mathematicians David and Gregory Chudnovsky. Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a feuilleton or miscellany of brief pieces—frequently humorous, whimsical, or eccentric vignettes of life in New York—in a breezily light style, although latterly the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year. Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). The current editor of The New Yorker is David Remnick, who succeeded Brown in July 1998. Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald, Kenneth Tynan, and Hannah Arendt, whose Eichmann in Jerusalem reportage appeared in the magazine, before it was published as a book. Brown's tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure), and to the changes she made to a magazine with a similar look for the previous half-century. She introduced color to the editorial pages (several years before The New York Times) and included photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A letters-to-the-editor page was introduced, and authors' bylines were added to their "Talk of the Town" pieces. Since the late 1990s, The New Yorker has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online and a complete archive of back issues viewable as they were originally printed. In addition, The New Yorker's cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) was also issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue has been released. In 2014, The New Yorker opened up access online to all of its archives, expanded its plans to run an ambitious Website, and launched a paywalled subscription model. “What we’re trying to do,” said Nicholas Thompson, the editor of the Website, “is to make a website that is to the Internet what the magazine is to all other magazines.” The magazine's editorial staff unionized in 2018 and The New Yorker Union signed its first collective bargaining agreement in 2021. The New Yorker influenced a number of similar magazines, including The Brooklynite (1926 to 1930), The Chicagoan (1926 to 1935), and Paris's The Boulevardier (1927 to 1932). The New Yorker has featured cartoons (usually gag cartoons) since it began publication in 1925. For years, its cartoon editor was Lee Lorenz, who first began cartooning in 1956 and became a New Yorker contract contributor in 1958. After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by Françoise Mouly), he continued in the position of cartoon editor until 1998. His book The Art of the New Yorker: 1925–1995 (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of New Yorker cartoons. Mankoff also usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. He left the magazine in 2017. The New Yorker's stable of cartoonists has included many important talents in American humor, including Charles Addams, Peter Arno, Charles Barsotti, George Booth, Roz Chast, Tom Cheney, Sam Cobean, Leo Cullum, Richard Decker, Pia Guerra, J. B. Handelsman, Helen E. Hokinson, Pete Holmes, Ed Koren, Reginald Marsh, Mary Petty, George Price, Charles Saxon, Burr Shafer, Otto Soglow, William Steig, Saul Steinberg, James Stevenson, James Thurber, and Gahan Wilson. Many early New Yorker cartoonists did not caption their cartoons. In his book The Years with Ross, Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week were brought up from the mail room to be looked over by Ross, the editorial department, and a number of staff writers. Cartoons were often rejected or sent back to artists with requested amendments, while others were accepted and captions were written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931. Brendan Gill relates in his book Here at The New Yorker that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teenaged Truman Capote) had been acting as a volunteer art editor, dropping pieces he did not like down the far end of his desk. Several of the magazine's cartoons have reached a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, "I say it's spinach and I say the hell with it." The phrase "I say it's spinach" entered the vernacular, and three years later, the Broadway musical Face the Music included Irving Berlin's song "I Say It's Spinach (And the Hell with It)". The catchphrase "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board." The most reprinted is Peter Steiner's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you're a dog". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner. Over seven decades, many hardcover compilations of New Yorker cartoons have been published, and in 2004, Mankoff edited The Complete Cartoons of The New Yorker, a 656-page collection with 2,004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by cartoonist's name or year of publication. The newer group of cartoonists in recent years includes Pat Byrnes, J. C. Duffy, Liana Finck, Emily Flake, Robert Leighton, Michael Maslin, Julia Suits, and P. C. Vey. Will McPhail cited his beginnings as "just ripping off Calvin and Hobbes, Bill Watterson, and doing little dot eyes." The notion that some New Yorker cartoons have punchlines so oblique as to be impenetrable became a subplot in the Seinfeld episode "The Cartoon", as well as a playful jab in The Simpsons episode "The Sweetest Apu".
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ILLUSTRATOR/ARTIST:
Julian de Miskey was born in Hungary and emigrated to the United States in 1914. He attended school in Ohio, and in 1917 moved to New York, where he studied at the Art Students League. The following year he began contributing illustrations to magazines such as Forbes and the Saturday Evening Post.
De Miskey also illustrated and designed covers for a number of books, including Chucaro: Wild Pony of the Pampa, The Prophesies of Nostradamus, The Trouble with Jenny's Ear, The Great Pearl Secret, Tim's Mountain, and Piccolo, a children's book which he both wrote and illustrated. In addition to his work as an illustrator, de Miskey studied sculpture and created stage sets and coSTUMES.
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