1920's CHICAGO BLUE CITY SKYSCRAPER SKYLINE RAILROAD DECO TRAVEL POSTER 31882

Description

View 1920's CHICAGO BLUE CITY SKYSCRAPER SKYLINE RAILROAD DECO TRAVEL POSTER 31882 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%} ORIGINALLY A 1920'S  FRONT COVER FOR A ILLINOIS TRAVEL PROMO FROM A RAILROAD COMPANY.  WONDERFUL DEEP BLUES FROM THE EVENING SHADOWS.  NEW YORK CENTRAL RAILROAD PROMO COVER FOR THE CITY OF CHICAGO 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's 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:  Leslie Darrell Ragan (1897 - 1972) was active/lived in California, Iowa, Oregon. Leslie Ragan is known for   Illustrator-trains through landscape . Ragan was a specialty illustrator who was well known for his paintings of machines moving fast through landscapes (especially trains). The   New York Central Railroad   (reporting mark   NYC ) was a   railroad   primarily operating in the   Great Lakes   and   Mid-Atlantic   regions of the United States. The railroad primarily connected   greater New York   and   Boston   in the east with   Chicago   and   St. Louis   in the   Midwest, along with the intermediate cities of   Albany,   Buffalo,   Cleveland,   Cincinnati,   Detroit,   Rochester   and   Syracuse. New York Central was headquartered in   New York City's   New York Central Building, adjacent to its largest station,   Grand Central Terminal. The railroad was established in 1853, consolidating several existing railroad companies. In 1968, the NYC merged with its former rival, the   Pennsylvania Railroad, to form   Penn Central. Penn Central went bankrupt in 1970 and merged into   Conrail   in 1976. Conrail was broken-up in 1999, and portions of its system were transferred to   CSX   and   Norfolk Southern Railway, with CSX acquiring most of the old New York Central trackage. Extensive trackage existed in the states of   New York,   Pennsylvania,   Ohio,   Michigan,   Indiana,   Illinois,   Massachusetts   and   West Virginia, plus additional trackage in the Canadian provinces of   Ontario   (Southwestern and Eastern Ontario) and   Quebec   (South of Montreal). At the end of 1925, the NYC operated 11,584 miles (18,643 km) of road and 26,395 miles (42,479 km) of track; at the end of 1967 the mileages were 9,696 miles (15,604 km) and 18,454 miles (29,699 km). 20th Century Limited : New York to Chicago (limited stops) via the Water Level Route 1902–1967 Commodore Vanderbilt : New York–Chicago (a few more stops) via the Water Level Route Lake Shore Limited : New York–Chicago via Cleveland with branch service to Boston and St. Louis 1896–1956, 1971–Present (Reinstated and combined with   New England States   by Amtrak in 1971) Chicagoan : New York–Chicago Pacemaker : New York–Chicago all-coach train via Cleveland Wolverine : New York-Chicago via southern Ontario and Detroit 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 . 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