1925 SEXY GREEN MUSIC FASHION DANCER THEATRE STAGE ART DECO POSTER 318892

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View 1925 SEXY GREEN MUSIC FASHION DANCER THEATRE STAGE ART DECO POSTER 318892 with current marketplace pricing, condition, product images and item details. Other styles borrowed included Russian Constructivism and Italian Futurism, as well as Orphism, Functionalism, and Modernism in general. Art Deco also used the clashing colours and designs of Fauvism, notably in the work of Henri Matisse and André Derain, inspired the designs of art deco textiles, wallpaper, and painted ceramics. img{max-width:100%} THE COLORS, THE STYLE, THE FLOW -- PURE ART DECO AT IT'S BEST.  AND THE TITLE OF SEE IT WITH MUSIC JUST FITS THAT 1920'S FLAPPER MOVEMENT.  WONDERFUL GREEN SKINNED DANCER HAS ALL THE MOVES.  VERY HIGH QUALITY DECOR. 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 - 1925 At PosterPrint Shop we look for rare & unusual ITEMS OF commercial graphics from throughout the world. The PosterPrints are printed on high quality 48 # acid free PREMIUM GLOSSY PHOTO PAPER (to insure high depth ink holding and wrinkle free product) Most of the PosterPrints have APPROX 1/4" border MARGINS for framing, to use in framing without matting. MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5. As decorative art these PosterPrints give you - the buyer - an opportunity to purchase and enjoy fine graphics (which in most cases are rare in original form) in a size and price range to fit most all. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past. Should you have any questions please feel free to email us and we will do our best to clarify. We use USPS. WE ship items DAILY. We ship in custom made extra thick ROUND TUBES..... WE SHIP POSTERPRINTS ROLLED + PROTECTED BY PLASTIC BAG For multiple purchases please wait for our invoice... THANKS. We pride ourselves on quality product, service and shipping.  POSTERPRINTARTSHOP DESCRIPTION OF ITEM : additional information: ARTIST - Alfred Cheney Johnston   (known as "Cheney" to his friends and associates) (April 8, 1885 – April 17, 1971) was a   New York City-based photographer known for his portraits of   Ziegfeld Follies   showgirls as well as of actors and actresses from the worlds of stage and film. Biography Johnston was born into an affluent New York banking family, which subsequently moved to   Mount Vernon, New York. Initially he studied painting and illustration at the   National Academy of Design   in New York, but after graduating in 1908 (and marrying fellow student Doris Gernon the next year), his subsequent efforts to earn a living as a portrait painter did not meet with success. Instead, reportedly at the suggestion of longtime family friend and famed illustrator   Charles Dana Gibson, he started to employ the camera previously used to record his painting subjects as his basic creative medium. In approximately 1917, Johnston was hired by famed New York City live-theater showman and producer   Florenz Ziegfeld   as a contracted photographer, and was affiliated with the Ziegfeld Follies for the next fifteen years or so. He also maintained his own highly successful personal commercial photo studio at various locations around New York City as well, photographing everything from aspiring actresses and society matrons to a wide range of upscale retail commercial products—mostly men's and women's fashions—for magazine ads. He photographed several hundred actresses and showgirls (mainly in New York City, and whether they were part of the Follies or not) during that time period. Alfred Cheney Johnston died in a car crash near his home in Connecticut on April 17, 1971, three years after the death of his longtime wife, Doris. They had no children. The photographer For his indoor studio work, Johnston often employed a large "Century"-brand   view camera   that produced 11x14-inch glass-plate negatives, so a standard Johnston 11x14 photographic print was actually just a "contact print" from the negative and not enlarged at all. This size of negative afforded extremely fine image detail. (However, Johnston also is confirmed to have shot with a   Graflex   camera in 3-1/4 x 4-1/4-inch roll-film format; an unknown brand of 8x10 view camera; and a   Zeiss Ikon   camera in 120 [2-1/4 x 2-1/4-inch] film format.) Johnston's "standard" work, of course, was used by Flo Ziegfeld for the normal advertising and promotional purposes for the Follies, and mainly consisted of individual or small-group shots of the Follies showgirls in their extravagant stage costumes. However, after Johnston's death in 1971, a huge treasure trove of extremely artistic full-nude   and semi-nude full-figure studio photos (and their accompanying glass-plate negatives) was found stored at the farm near   Oxford, Connecticut, where he'd lived since 1940. Most of these images (some named, mostly anonymous) were, in fact, showgirls from the Ziegfeld Follies, but such daring,   unretouched   full-frontal images would certainly have had no public-publication possibilities in the 1920s-1930s, so it is speculated that these were either simply his own personal artistic work, and/or done at the behest of Flo Ziegfeld for that showman's personal enjoyment. The only book known to have been published by Alfred Cheney Johnston during his lifetime devoted to his nudes/glamour photography   is the 1937 spiral-bound softcover "Enchanting Beauty", which contains 94 black-and-white photos (mostly about 7x9 inches, centered on a 9x12-inch page, although a number are cropped circular or in other designs). Unusually (compared to virtually all other examples of his work seen today on the Web or other sources, which were shot in an indoor studio in front of a flat-black or illustrated tapestry background cloth), 37 of these photos were taken outdoors along a stream or in flower-dappled fields, etc. All the shots in the book are "airbrushed" in the pubic area, to keep them legal with respect to the publishing standards of the day. The   stock-market crash of 1929   and ensuing   Great Depression—combined with several unsuccessful seasons of stage productions and a variety of messy lawsuits—devastated Flo Ziegfeld's finances, and he died in July 1932. This heavily impacted Alfred Cheney Johnston's career, and likely led to his relocation to Connecticut at the end of the decade. Although he briefly operated two successive commercial photo studios there in the late 1940s/early 1950s, neither was apparently successful. It is believed that he did also continue his nude/glamour portrait work in a large converted barn/studio on his property, working with a new generation of "post-Ziegfeld" female models and stubbornly continuing to use his massive 11x14-inch view camera. Legacy In 1960, Johnston donated a set of 245 large prints of his work to the Library of Congress in Washington, D.C. (largely nude and semi-nude Follies showgirls, performers from various Ziegfeld shows including   Fanny Brice,   Billie Burke,   Ruby Keeler, the   Dolly Sisters,   Ina Claire,   Helen Morgan,   Marilyn Miller,   Grace Moore,   Ann Pennington,   Belle Baker   and   Ruth Etting, some well-known actors and actresses of the 1920s/1930s including   Mary Pickford,   Gloria Swanson,   Tyrone Power,   John Barrymore,   Pearl White,   Barbara La Marr,   Orson Welles,   Clara Bow,   Ethel Barrymore,   Claudette Colbert,   Corinne Griffith,   Clara Kimball Young,   Theda Bara,   Mabel Normand,   Helen Hayes,   Norma Shearer,   Anita Stewart,   Lillian Gish,   Dorothy Gish,   Marie Prevost,   Tallulah Bankhead,   Mary Miles Minter,   Hope Hampton, and a number of product-advertisement photos). Apparently five of them have "gone missing" over the years, although the Library still has 240 images in its Prints and Photographs division (Lot 8782). Many years later, a considerable number of original Johnston-printed (and sometimes autographed) photographic prints and many original negatives were purchased at several auctions by at least four different American collectors/entrepreneurs. Nowadays, both original 11x14-inch ACJ prints and more recent reprints from Johnston's original negatives have commanded significant prices in both on-line auctions and at photo galleries. DANCER IS Albertina Vitak  (1904 - 1993) WHO performed on Broadway in the 1920s and 1930s. Albertina Vitak ...  "Ziegfeld Girl," "Critic." Temperamental Albertina studied dance as a child, won a modeling contest at age 6 and by age 17 was dancing with Balletomane  Michael Fokine  and danced two Waltzes with  Clifton Webb  in 'Flying Colors' as well as making her professional stage debut in the 1922 Ziegfeld Follies. At age 18 she danced with  Chester Hale  in the 1923 'Music Box Revue' and a brief partnering with the legendary  Tony DeMarco  ( but reportedly quarreled quite a bit .) Miss Vitak was one of the  Albertina Rasch  dancers, by age 24 was on the 6/1929 cover of 'The Dance Magazine.' Posed for Alfred Cheney Johnston for many photo's and Svetoslav Roerich's art. Upon retiring in the 1930's from the stage she became a respected dance critic of the top dance magazines of the time and others like ' the New Yorker ' ... but mainly ' the American Dancer ' as well as ' Dance Magazine .' She had one brother and two sisters (Louis Vitak, Olga Burge and Marie, another possible Suzette J.).   Dance Magazine  is an American trade publication for dance published by the Macfadden Communications Group. It was first published in June 1927 as  The American Dancer .  Dance Magazine  has multiple sister publications, including  Pointe ,  Dance Spirit ,  Dance Teacher ,  Dance 212 , and  DanceU101 .  Dance Magazine  was owned by Macfadden Communications Group from 2001 to 2016 when it was sold to Frederic M. Seegal, an investment banker with the Peter J. Solomon Company. Editors The first editor and publisher was Ruth Eleanor Howard. Sometime in the 1930s, Paul R. Milton took over as editor. In 1942, the magazine was purchased by Rudolf Orthwine. Lydia Joel became the editor in 1952. In 1970, William Como replaced her, and he was the editor-in-chief until his death in 1989. Richard Philp was the editor-in-chief from 1989 to 1999. Janice Berman took over from Philip late in 1999. Wendy Perron was editor-in-chief from 2004 to 2013. ARTIST - UNKNOWN Art Deco , short for the French  Arts Décoratifs , and sometimes just called  Deco , is a style of visual arts, architecture, and product design, that first appeared in France in the 1910s (just before World War I), and flourished in the United States and Europe during the 1920s and 1930s. Through styling and design of the exterior and interior of anything from large structures to small objects, including how people look (clothing, fashion and jewelry), Art Deco has influenced bridges, buildings (from skyscrapers to cinemas), ships, ocean liners, trains, cars, trucks, buses, furniture, and everyday objects like radios and vacuum cleaners. It got its name after the 1925 Exposition internationale des arts décoratifs et industriels modernes (International Exhibition of Modern Decorative and Industrial Arts) held in Paris. Art Deco combined modern styles with fine craftsmanship and rich materials. During its heyday, it represented luxury, glamour, exuberance, and faith in social and technological progress. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the Vienna Secession; the bright colours of Fauvism and of the Ballets Russes; the updated craftsmanship of the furniture of the eras of Louis Philippe I and Louis XVI; and the exoticized styles of China, Japan, India, Persia, ancient Egypt and Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The Empire State Building, Chrysler Building, and other skyscrapers of New York City built during the 1920s and 1930s are monuments to the style. In the 1930s, during the Great Depression, Art Deco became more subdued. New materials arrived, including chrome plating, stainless steel and plastic. A sleeker form of the style, called Streamline Moderne, appeared in the 1930s, featuring curving forms and smooth, polished surfaces. Art Deco is one of the first truly international styles, but its dominance ended with the beginning of World War II and the rise of the strictly functional and unadorned styles of modern architecture and the International Style of architecture that followed. Art Deco took its name, short for  arts décoratifs , from the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925, though the diverse styles that characterised it had already appeared in Paris and Brussels before World War I. Arts décoratifs  was first used in France in 1858 in the  Bulletin de la Société française de photographie . In 1868, the  Le Figaro  newspaper used the term  objets d'art décoratifs  for objects for stage scenery created for the Théâtre de l'Opéra. In 1875, furniture designers, textile, jewellers, glass-workers, and other craftsmen were officially given the status of artists by the French government. In response, the  École royale gratuite de dessin  (Royal Free School of Design), founded in 1766 under King Louis XVI to train artists and artisans in crafts relating to the fine arts, was renamed the  École nationale des arts décoratifs ( National School of Decorative Arts). It took its present name, ENSAD ( École nationale supérieure des arts décoratifs ), in 1927. At the 1925 Exposition, architect Le Corbusier wrote a series of articles about the exhibition for his magazine  L'Esprit Nouveau , under the title "1925 EXPO. ARTS. DÉCO.", which were combined into a book,  L'art décoratif d'aujourd'hui  (Decorative Art Today). The book was a spirited attack on the excesses of the colourful, lavish objects at the Exposition, and on the idea that practical objects such as furniture should not have any decoration at all; his conclusion was that "Modern decoration has no decoration". The actual term  art déco  did not appear in print until 1966, in the title of the first modern exhibition on the subject, held by the Museum of Decorative Arts in Paris,  Les Années 25 : Art déco, Bauhaus, Stijl, Esprit nouveau , which covered the variety of major styles in the 1920s and 1930s. The term was then used in a 1966 newspaper article by Hillary Gelson in  The Times  (London, 12 November), describing the different styles at the exhibit. Art Deco gained currency as a broadly applied stylistic label in 1968 when historian Bevis Hillier published the first major academic book on it,  Art Deco of the 20s and 30s . He noted that the term was already being used by art dealers, and cites  The Times  (2 November 1966) and an essay named  Les Arts Déco  in  Elle  magazine (November 1967) as examples.   In 1971, he organized an exhibition at the Minneapolis Institute of Arts, which he details in his book  The World of Art Deco . Origins Society of Decorative Artists (1901–1945) The emergence of Art Deco was closely connected with the rise in status of decorative artists, who until late in the 19th century were considered simply as artisans. The term  arts décoratifs  had been invented in 1875, giving the designers of furniture, textiles, and other decoration official status. The  Société des artistes décorateurs  (Society of Decorative Artists), or SAD, was founded in 1901, and decorative artists were given the same rights of authorship as painters and sculptors. A similar movement developed in Italy. The first international exhibition devoted entirely to the decorative arts, the  Esposizione Internazionale d'Arte Decorativa Moderna , was held in Turin in 1902. Several new magazines devoted to decorative arts were founded in Paris, including  Arts et décoration  and  L'Art décoratif moderne . Decorative arts sections were introduced into the annual salons of the  Sociéte des artistes français , and later in the  Salon d'Automne . French nationalism also played a part in the resurgence of decorative arts, as French designers felt challenged by the increasing exports of less expensive German furnishings. In 1911, SAD proposed a major new international exposition of decorative arts in 1912. No copies of old styles would be permitted, only modern works. The exhibit was postponed until 1914; and then, because of the war, until 1925, when it gave its name to the whole family of styles known as "Déco". Art Deco was not a single style, but a collection of different and sometimes contradictory styles. In architecture, Art Deco was the successor to and reaction against Art Nouveau, a style which flourished in Europe between 1895 and 1900, and also gradually replaced the Beaux-Arts and neoclassical that were predominant in European and American architecture. In 1905 Eugène Grasset wrote and published  Méthode de Composition Ornementale, Éléments Rectilignes,  in which he systematically explored the decorative (ornamental) aspects of geometric elements, forms, motifs and their variations, in contrast with (and as a departure from) the undulating Art Nouveau style of Hector Guimard, so popular in Paris a few years earlier. Grasset stressed the principle that various simple geometric shapes like triangles and squares are the basis of all compositional arrangements. The reinforced-concrete buildings of Auguste Perret and Henri Sauvage, and particularly the Théâtre des Champs-Élysées, offered a new form of construction and decoration which was copied worldwide. In decoration, many different styles were borrowed and used by Art Deco. They included pre-modern art from around the world and observable at the Musée du Louvre, Musée de l'Homme and the Musée national des Arts d'Afrique et d'Océanie. There was also popular interest in archaeology due to excavations at Pompeii, Troy, and the tomb of the 18th dynasty Pharaoh Tutankhamun. Artists and designers integrated motifs from ancient Egypt, Africa, Mesopotamia, Greece, Rome, Asia, Mesoamerica and Oceania with Machine Age elements. Other styles borrowed included Russian Constructivism and Italian Futurism, as well as Orphism, Functionalism, and Modernism in general. Art Deco also used the clashing colours and designs of Fauvism, notably in the work of Henri Matisse and André Derain, inspired the designs of art deco textiles, wallpaper, and painted ceramics. It took ideas from the high fashion vocabulary of the period, which featured geometric designs, chevrons, zigzags, and stylized bouquets of flowers. It was influenced by discoveries in Egyptology, and growing interest in the Orient and in African art. From 1925 onwards, it was often inspired by a passion for new machines, such as airships, automobiles and ocean liners, and by 1930 this influence resulted in the style called Streamline Moderne. Art Deco was associated with both luxury and modernity; it combined very expensive materials and exquisite craftsmanship put into modernistic forms. Nothing was cheap about Art Deco: pieces of furniture included ivory and silver inlays, and pieces of Art Deco jewellery combined diamonds with platinum, jade, coral and other precious materials. The style was used to decorate the first-class salons of ocean liners, deluxe trains, and skyscrapers. It was used around the world to decorate the great movie palaces of the late 1920s and 1930s. Later, after the Great Depression, the style changed and became more sober. A good example of the luxury style of Art Deco is the boudoir of the fashion designer Jeanne Lanvin, designed by Armand-Albert Rateau (1882–1938) made between 1922 and 1925. It was located in her house at 16 rue Barbet de Jouy, in Paris, which was demolished in 1965. The room was reconstructed in the Museum of Decorative Arts in Paris. The walls are covered with moulded  lambris  below sculpted bas-reliefs in stucco. The alcove is framed with columns of marble on bases and a plinth of sculpted wood. The floor is of white and black marble, and in the cabinets decorative objects are displayed against a background of blue silk. Her bathroom had a tub and washstand made of sienna marble, with a wall of carved stucco and bronze fittings. By 1928 the style had become more comfortable, with deep leather club chairs. The study designed by the Paris firm of Alavoine for an American businessman in 1928–30, is now in the Brooklyn Museum. By the 1930s, the style had been somewhat simplified, but it was still extravagant. In 1932 the decorator Paul Ruaud made the Glass Salon for Suzanne Talbot. It featured a serpentine armchair and two tubular armchairs by Eileen Gray, a floor of mat silvered glass slabs, a panel of abstract patterns in silver and black lacquer, and an assortment of animal skins. Powered by SixBit's eCommerce Solution Condition: New. Category: Art › Art Posters.

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Poster