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 - 1920
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DESCRIPTION OF ITEM: additional information:
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.
The first appearance of the flapper style in the United States came from the popular 1920 Frances Marion film The Flapper, starring Olive Thomas. Thomas starred in a similar role in 1917, though it was not until The Flapper that the term was used. In her final movies, she was seen as the flapper image. Other actresses, such as Clara Bow, Louise Brooks, Colleen Moore and Joan Crawford would soon build their careers on the same image, achieving great popularity.
In the United States, popular contempt for Prohibition was a factor in the rise of the flapper. With legal saloons and cabarets closed, back alley speakeasies became prolific and popular. This discrepancy between the law-abiding, religion-based temperance movement and the actual ubiquitous consumption of alcohol led to widespread disdain for authority. Flapper independence was also a response to the Gibson girls of the 1890s. Although that pre-war look does not resemble the flapper style, their independence may have led to the flapper wisecracking tenacity 30 years later.
Writers in the United States such as F. Scott Fitzgerald and Anita Loos and illustrators such as Russell Patterson, John Held, Jr., Ethel Hays and Faith Burrows popularized the flapper look and lifestyle through their works, and flappers came to be seen as attractive, reckless, and independent. Among those who criticized the flapper craze was writer-critic Dorothy Parker, who penned "Flappers: A Hate Song" to poke fun at the fad. The secretary of labor denounced the "flippancy of the cigarette smoking, cocktail-drinking flapper". A Harvard psychologist reported that flappers had "the lowest degree of intelligence" and constituted "a hopeless problem for educators".
Another writer, Lynne Frame, said in her book that a large number of scientists and health professionals have analyzed and reviewed the degree of femininity of flappers' appearance and behavior, given the "boyishness" of the flapper look and behavior. Some gynecologists gave the opinion that women were less "marriageable" if they were less "feminine", as the husband would be unhappy in his marriage. In Frame's book, she also wrote that the appearance of flappers, like the short hair and short dress, distracted attention from feminine curves to the legs and body. These attributes were not only a fashion trend but also the expression of a blurring of gender roles.
The Gibson Girl
The Gibson Girl was one of the origins of the flapper. The invention of Charles Dana Gibson, the Gibson Girl changed the fashion, patterns, and lifestyles of the 1920s; these were much more progressive than the traditions of women's styles in the past. Before the Gibson Girl movement, women's voices as a group were infrequently heard. While some may see the Gibson Girl as just a fashion statement, it was much more broadly influential than that. "She depicted the modern woman, known popularly as the 'new woman', at a time when more women gained independence, began to work outside the home, and sought the right to vote and other rights." Gibson's illustrations showed feminist women of all kinds who worried more about themselves than about pleasing the men in their lives. It was the first time a woman could actually concentrate on her own dreams and goals. The Gibson Girl also exemplified the importance of intelligence and learning rather than catering to men's needs
According to a website on Kate Chopin, "The Gibson Girl influenced society in the early 1900s much like Barbie influenced society of the late 1900s. The Gibson Girl crossed many societal lines opening the way for women to participate in things they had never done before. She, like Barbie, portrayed women as strong individuals who could play sports while maintaining perfectly coiffed hair and dress. She was criticized by many, much like Barbie, for creating an unrealistic ideal of what women should look like: perfect proportions and long flowing hair. Despite the criticism she was a trend setter, a model for women in both dress and action, just like Barbie."
The fashion of the Gibson Girl allowed women a much more active lifestyle than previously, in both work and recreation. "Skirts were long and flared, and dresses were tailored with high necks and close-fitting sleeves. The style was considered masculine, and this was sometimes emphasized by wearing a necktie. Though women still wore the restrictive undergarments known as corsets, a new health corset came into style that was said to be better for the spine than earlier corsets. An S-shaped figure became trendy, with a large bust and large hips, separated by a tiny, corseted waist. These styles [were] worn with confidence and poise by modern women. ... She might be pictured at a desk in a tailored shirtwaist or at a tennis party in an informal sports dress. She wore her long hair upswept in an elaborate mass of curls, perhaps topped by a simple straw hat. Though she was capable and independent, the Gibson girl was always beautiful and elegant." According to the Library of Congress, "Gibson's meticulous depiction of their hats accentuates the Gibson Girls' stylish attire and visually reinforces the impression of height, leading the eye to the mountains. ... Gibson shows off the classic Gibson Girl as a figure who embraced outdoor physical activities."
The Gibson Girl was uniquely American compared to European standards of style. She was an ideal: youthful, feminist, strong and a truly modern woman. Gibson emphasized that any women can be represented as a Gibson Girl, both those in the middle and the upper class. Minnie Clark, known as "the original Gibson Girl", was a model for Gibson and could portray any type of women needed for his illustration. Gibson drew with characteristic grace women of all races and classes so that any woman could feel that they, too, could be a graceful GibsoN.
Magazines
In 1922, a small-circulation magazine – The Flapper, located in Chicago – celebrated the flapper's appeal. On the opening page of its first issue, it proudly declared flappers' break with traditional values. Also, flappers defended them by contrasting themselves with earlier generations of women whom they called "clinging vines". They mocked the confining fashions and demure passivity of older women and reveled in their own freedom. They did not even acknowledge that the previous generation of female activists had made the flappers' freedom possible.
In the 1920s, new magazines appealed to young German women with a sensuous image and advertisements for the appropriate clothes and accessories they would want to purchase. The glossy pages of Die Dame and Das Blatt der Hausfrau displayed the "Girl"—the flapper. She was young and fashionable, financially independent, and was an eager consumer of the latest fashions. The magazines kept her up to date on fashion, arts, sports, and modern technology such as automobiles and telephones.
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