MAXFIELD PARRISH AT HIS BEST ILLUSTRATION ART IN THIS POSTERPRINT PRODUCED FROM A VINTAGE LIFE MAG COVER. LOOKS GNOME ISH OR ELVE ISH IN STYLE . THE CHEF WOULD BE PERFECT FOR THE KITCHEN, RESTAURANT, ETC. AND CERTAINLY HAS AN ART DECO STYLE TO THE WORK.
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 - 1923
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:
Maxfield Parrish was born in Philadelphia, Pennsylvania, to painter and etcher Stephen Parrish and Elizabeth Bancroft. His given name was Frederick Parrish, but he later adopted Maxfield, his paternal grandmother's maiden name, as his middle, then finally as his professional name. He was raised in a Quaker society.? As a child he began drawing for his own amusement, showed talent, and his parents encouraged him. Between 1884 and 1886, his parents took Parrish to Europe, where he toured England, Italy, and France, was exposed to architecture and the paintings by the old masters, and studied at the Paris school of Dr. Kornemann.
He attended the Haverford School and later studied architecture at Haverford College for two years beginning in 1888. To further his education in art, from 1892 to 1895 he studied at the Pennsylvania Academy of the Fine Arts under artists Robert Vonnoh and Thomas Pollock Anshutz.? After graduating from the program, Parrish went to Annisquam, Massachusetts where he and his father shared a painting studio. A year later, with his father's encouragement, he attended the Drexel Institute of Art, Science & Industry where he studied with Howard Pyle.
Parrish entered into an artistic career that lasted for more than half a century, and which helped shape the Golden Age of illustration and American visual arts. During his career, he produced almost 900 pieces of art including calendars, greeting cards, and magazine covers. Parrish's early works were mostly in black and white.
In 1885, his work was on the Easter edition of Harper’s Bazaar. He also did work for other magazines like Scribner's Magazine. One of his posters for The Century Magazine was published in Les Maîtres de l'Affiche.He also illustrated a children's book in 1897, Mother Goose in Prose written by L. Frank Baum. By 1900, Parrish was already a member of the Society of American Artists In 1903, he traveled to Europe again to visit Italy
Parrish took many commissions for commercial art until the 1920s Parrish's commercial art included many prestigious projects, among which were Eugene Field's Poems of Childhood in 1904, and such traditional works as Arabian Nights in 1909.[ Books illustrated by Parrish are featured in A Wonder Book and Tanglewood Tales in 1910, The Golden Treasury of Songs and Lyrics in 1911, and The Knave of Hearts in 1925.
Parrish was earning over $100,000 per year by 1910, when homes could be bought for $2,000.
In 1910 Parrish received a commission to create 18 panels to go into the Girls Dining Room of the Curtis Publishing Company building, then under construction at 6th and Walnut in Philadelphia. It would take him six years to finish the monumental project. In 1914, before the murals were completed, Curtis commissioned Parrish to design a 15-by-49-foot (4.6 m × 14.9 m) mural for the building lobby. Tiffany Studios constructed a favrile glass mosaic mural titled The Dream Garden, which is now a part of Pennsylvania Academy of the Fine Arts collection.
Parrish worked with popular magazines throughout the 1910s and 1920s, including Hearst's and Life. He also created advertising for companies like Wanamaker's, Edison-Mazda Lamps, Colgate and Oneida Cutlery. Parrish worked with Collier's from 1904 to 1913. He received a contract to deal with them exclusively for six years. He also painted advertisements for D.M. Ferry Seed Company in 1916 and 1923, which helped him gain recognition in the eye of the public. His most well-known art work is Daybreak which was produced in 1923. It features female figures in a landscape scene. The painting also has undertones of Parrish blue. In the 1920s, however, Parrish turned away from illustration and concentrated on painting.
In his forties, Parrish began working on large murals instead of just focusing on children's books. His works of art often featured androgynous nudes in fantastical settings. He made his living from posters and calendars featuring his works. Beginning in 1904, Susan Lewin (1889-1978) posed for many works, and became Parrish's longtime assistant. From 1918 to 1934, Parrish worked on calendar illustrations for General Electric.
In 1931, Parrish declared to the Associated Press, "I'm done with girls on rocks", and opted instead to focus on landscapes. By 1935, Parrish exclusively painted landscapes. Though never as popular as his earlier works, he profited from them. He would often build scale models of the imaginary landscapes he wished to paint, using various lighting setups before deciding on a preferred view, which he would photograph as a basis for the painting (see for example, The Millpond). He lived in Plainfield, New Hampshire, near the Cornish Art Colony, and painted until he was 91 years old. He was also an avid machinist, and often referred to himself as "a mechanic who loved to paint".
Parrish's art is characterized by vibrant colors; the color Parrish blue was named after him. He achieved such luminous color through glazing. This process involves applying layers of translucent paint and oil medium (glazes) over a base rendering. Parrish usually used a blue and white monochromatic underpainting.
His paintings/illustrations were unique in that they depicted a highly idealized fantasy world that was accessible to the general public. Although you will rarely see a glimpse of that color in reality, he was and still is linked with a particularly bright shade of blue that coated the skies of his landscapes. And it was not an easy task for him to complete. He invented a time-consuming process that involved a cobalt blue base and white undercoating, which he then coated with a series of thin alternating coatings of oil and varnish. When exposed to ultraviolet light, the resins he employed, known as Damar, floresce a shade of yellow-green, giving the painted sky its distinctive turquoise tint.
Parrish used many other innovative techniques in his paintings. He would take pictures of models in black and white geometric prints and project the image onto his works. This technique allowed for his figures to be clothed in geometric patterns, while accurately representing distortion and draping. Parrish would also create his paintings by taking pictures, enlarging, or projecting objects. He would cut these images out and put them onto his canvas. He would later cover them with clear glaze. Parrish's technique gave his paintings a more three-dimensional feel.
The outer proportions and internal divisions of Parrish's compositions were carefully caulated in accordance with geometric principles such as root rectangles and the golden ratio. In this Parrish was influenced by Jay Hambidge's theory of Dynamic Symmetry.
ParRish's works continue to influence pop culture. The cover of the 1985 Bloom County cartoon collection Penguin Dreams and Stranger Things comprises elements of Daybreak, The Garden of Allah, and The Lute Players. The poster for The Princess Bride was inspired by Daybreak. In 2001, Parrish was featured in a United States Post Office commemorative stamp series honoring American illustrators, including Parrish.
The 1986 television commercial announcing Nestle's Alpine White chocolate bar, entitled "Sweet Dreams," staged live-action representations of Parrish's Ecstasy, Dinky Bird, and Daybreak.
The Elton John album Caribou has a Parrish-inspired background. The Moody Blues album The Present uses a variation of the Parrish painting Daybreak for its cover. In 1984, Dali's Car, the British New Wave project of Peter Murphy and Mick Karn, used Daybreak as the cover art of their only album, The Waking Hour. The Irish musician Enya has been inspired by the works of Parrish. The cover art of her 1995 album The Memory of Trees is based on his painting The Young King of the Black Isles. A number of her music videos include Parrish imagery, including "Caribbean Blue".
In the 1995 music video "You Are Not Alone", Michael Jackson and his then wife Lisa Marie Presley appear semi-nude in emulation of Daybreak. The Italian singer-songwriter Angelo Branduardi's fourth album La pulce d'acqua of 1977 featured nine inlay full colour print reproductions of painter Mario Convertino's works; one of them is clearly inspired by Parrish's Stars.
The original painting of Daybreak sold in 2006 for US$7.6 million. The National Museum of American Illustration claims the largest body of his work in any collection, with sixty-nine works by Parrish including the 1910 Curtis Publishing Company’s 18 panel mural commission. Some of his works are located at the Hood Museum of Art in Hanover, New Hampshire, and a few at the Metropolitan Museum of Art in New York. The San Diego Museum of Art organized and toured a collection of his work in 2005.
The American painter Norman Rockwell referred to Parrish as "my idol".
In Alan Moore's 32 run comic series Promethea, the cover of Issue #13 was noted by the artist on the cover as "after Parrish", imitating his style.
While studying at Drexel, Parrish met his future wife, Lydia Ambler Austin, who was a drawing teacher. The couple were married on June 1, 1895 and moved to Philadelphia. They would go on to have four children together. In 1898, Parrish moved to Cornish, New Hampshire with his family and built a home that was later nicknamed "The Oaks" The home and an adjacent studio were surrounded by beautiful landscapes that inspired Parrish's drawings.
Parrish suffered from tuberculosis for a time in 1900. While sick, he discovered how to mix oils and glazes to create vibrant colors.
From 1900 to 1902, Parrish painted in Saranac Lake, New York, and Castle Hot Springs, Arizona to further recover his health.
Parrish’s youngest child, Jean, posed for Ecstasy just before leaving for Smith College. Jean was the only child to follow her parents’ profession.
Parrish developed arthritis. He accepted his last commission in the late 1950s. By 1960 his arthritis prevented him from painting. His last years were spent in a wheelchair. He died on March 30, 1966 in Plainfield, New Hampshire, at the age of 95.
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.
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