ARTIST DESCRIPTION:  Frank H. McIntosh was born in Portland, Oregon on July 17, 1901. 

After graduating from the California School of Fine Arts, McIntosh had a studio in San Francisco 1923-24. He produced much of the Matson Line's advertising art. He then continued his studies in New York City and Paris. 

By the early 1930s he had moved to Los Angeles where he was on the faculty at the Chouinard Art Institute.  In 1940 he had a studio in New York City. 

During the 1960s he had a gallery in Los Angeles dealing with Oriental paintings and objet d'art. 

He died in Santa Cruz, CA on May 29, 1985. 

Asia was an American magazine that featured reporting about Asia and its people, including the Far East, Southeast Asia, South Asia, and the Middle East. From 1934 to 1946, it was edited by Richard J. Walsh, with extensive contributions from his wife, Pearl S. Buck. Under their influence, the journal published many prominent Asian literary and political figures and American authorities. It was headquartered in Orange, Connecticut. In 1946, after many years of financial trouble, it was merged into a new journal, United Nations World.

Asia magazine was established by the American Asiatic Association in 1898 as Journal of the American Asiatic Association. An editorial in the Journal explained: "The ignorance of our people in regard to the countries of the Far East is unquestionably a serious obstacle to the legitimate extension of American influence." In 1917 Willard Straight, who had been involved in promoting American trade and investment in Korea and China since the turn of the century, and his wife, Dorothy Payne Whitney Straight, bought the magazine and renamed it Asia and continued its publication as a popular journal of commerce and travel. The Straights also were co-founders of The New Republic magazine.

When Willard Straight died of influenza in 1918, his widow took over publication of the magazine. She married Leonard K. Elmhirst in 1925. The editors included Louis D. Froelick and John Foord, and associate editors Gertrude Emerson and Marietta Neff. Elsie Weil, who joined the staff about 1920, was the long time managing editor.

Frank H. McIntosh painted many of the covers.

In January 1934, although ownership remained unchanged, Richard J. Walsh, head of John Day publishers published his first issue as editor. He announced that the magazine would no longer be a tourist handbook, and despite objections from some readers, the magazine was shifted from advertising luxury goods, travel and promotion of American commerce in the Orient to discussion of international affairs and current Asian culture and literature. In the first editorial Walsh promised readers a wide range of topics and views. The magazine's political stance changed as well. Walsh wrote that it would "look upon Communism as objectively as upon art, and bring to religious concepts as open a mind as we bring to economic problems." Walsh soon brought his new wife, Pearl S. Buck, into the editorial process. 

In the following years, Asia underwent revolution and war. Walsh, as publisher of John Day, and Buck, as America's most influential writer about Asia, attracted and recruited a new range of Asian and American writers, many of whom promoted an anti-colonial agenda, such as support for Indian independence, and anti-racist program. Subscriptions rose as Americans become more worried about the oncoming Second Sino-Japanese War. Writers included William Ernest Hocking, the Harvard liberal theologian; Hu Shih, leader of China's New Culture Movement; Owen Lattimore, the emerging authority on Central Asia; Lin Yutang; Jawaharlal Nehru, the Indian independence leader; and reporters such as Nathaniel Peffer; Edgar Snow, Nym Wales, and Theodore H. White, who reported from the front line on China before World War II. Buck wrote a regular book review column titled “Asia Book Shelf.” The magazine recruited corresponding editors to gather articles, including Gertrude Emerson Sen in India and H.J. Timperley, an Australian journalist in China.

In 1941, Walsh and Buck bought the magazine from the Elmhirsts. They changed the name to Asia and the Americas in November 1942, and Buck assumed the editorship. She continued her attacks on imperialism, particularly British, and offered strong support for colonial independence movements. With the end of the war in 1945, however, Americans lost interest in Asia and the magazine suffered a financial crisis. Buck resigned as editor in 1947 merged the magazine with Free World and Inter-American to form a new journal, United Nations World.

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.