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 - 1930
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DESCRIPTION OF ITEM: additional information:
Theodore Gilbert Haupt (1902–1990), was an American Modernist painter, sculptor and muralist who melded Cubist with Surrealist elements. As a graphic designer, he achieved recognition for his New Yorker magazine covers.
Early life
Theodore Haupt was the second youngest of five children born to an Episcopalian Minister, Reverend Charles Edgar Haupt and Alexandria Dougon, in St. Paul Minnesota on October 11, 1902. Reverend Haupt's father was General Herman Haupt who supervised the railroads, built bridges for the Union Army during the Civil War and became an outspoken voice in President Lincoln's White House during that troubled time.
Haupt's early gifts for drawing and painting were noted but not encouraged by his family. Nonetheless, he persevered and was further inspired when, at age twenty-one, his paintings received highly favorable reviews in a large exhibition mounted by The Beard Gallery in Minneapolis. Haupt attended the Minneapolis School of Art, studying with Anthony Angarola, recipient of a Guggenheim Fellowship and an acclaimed Chicago modernist. A critical turning point came for Haupt in 1923, when he won a scholarship to the Académie Julian in Paris. Haupt remained in Europe for two years, studying with the sculptor and painter, André L’Hote in Paris, Vienna and Gratz.
Graphic designer career
In 1927 Haupt moved to New York, renting an apartment on East 10th Street in Manhattan. For five years Haupt supported his studio art with graphic design assignments for The New Yorker, Charm and Vanity Fair magazines; his debut cover for The New Yorker being produced almost immediately in September of that first year. Between 1927 and 1933, Haupt turned out a staggering forty-five covers for The New Yorker presenting a gamut of subjects from;
- New York City at night
- a view of Park Avenue (October 26, 1929 issue), now in the collection of the Museum of the City of New York.
- art deco-style interpretations of annual events and social commentaries
The 1930s
Haupt's modernist paintings were being exhibited in New York art galleries and at museums around the country. Two of his paintings were selected for The Art Institute of Chicago's 45th Annual Exhibition (October 24-December 8, 1935), Sea Beach (#91) and Shadow Lane (#92). Haupt's works were shown at a number of museums, among them The Pennsylvania Academy of Fine Art; The Minneapolis Institute of Art; and The Whitney Museum of American Art, New York.
Haupt continued turning out paintings and executing art for public spaces including work for the Whitney Museum and a mural for the Central Park Zoo, which was destroyed in a restoration of the zoo. Along with many other artists during the depression, Haupt was active in the period's government sponsored WPA Art Programs, an experience that encouraged an open-minded and experimental attitude in his art practice for the remainder of his life. Haupt recalled the sculptor Louise Nevelson's lively “rent parties” which he attended with other WPA artists including Ivan Albright and Moses Soyer.
A new direction
In 1942, Haupt married a school teacher, Miriam Diehl. Her steady employment sustained the couple financially. Haupt and his wife purchased a house in Peekskill, New York in 1941 and in 1948 moved to San Miguel de Allende, an artist's community in Mexico. Haupt became increasingly engrossed in that country's cultural contrasts, an interest that expressed itself in paintings and sculptures of this period. While in Mexico the couple built a house and adopted two children, Gloria and Maricella. After Miriam's unfortunate early death, her pension continued to sustain the artist as the demand for illustration lessened.
Now in a financial position to walk away from the machinations of the art market, Haupt embarked upon an extended period of renewed investigation and experimentation, working his way through abstract, color-drenched, non-representational painting styles and developing a series of Surrealist-inspired canvases. Haupt later investigated chromatic vibrations and dynamic optical effects in a series of compelling Op Art canvases. His career began as a realistic portrait painter and he often returned to that subject matter, reinterpreting the process each time in light of his stylistic investigations.
Last years
When his wife died in the 1960s, the artist moved to Hawaii with his children, later resettling in New York in the Westbeth Artist's Community in Greenwich Village. Returning briefly to Hawaii in 1968, he connected with a lifelong supporter, Dan Wall, at the University of Hawaii. Theodore Haupt died at the age of 87, in Indianapolis, June 13, 1990.
The New Yorker is an American weekly 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 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,[6][7] its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue.
The New Yorker was founded by Harold Ross and his wife Jane Grant, 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 pre-eminent 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 twentieth and twenty-first 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 non-fiction feature articles (which usually make up the bulk of the magazine's content) 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—written 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' personal 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, as well as 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) has also been issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue of the magazine has been released.
The magazine's editorial staff unionized in 2018 and The New Yorker Union signed their first collective bargaining agreement in 2021.
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.
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