Henry McBride [Editor]: CREATIVE ART [A Magazine of Fine and Applied Art]. New York: Albert and Charles Boni, Inc., Volume 8, Number 6: June 1931. Original edition. Printed wrappers. [86] pp. Illustrated articles and period advertisments. Wrappers worn along spine edges and textblock uniformly bumped to lower corner, but a very good copy.
8.25 x 11.5 vintage magazines with 88 pages of editorial content plus vintage advertisements. Creative art meaning architecture, painting, drawing, furniture design, interior decoration and the decorative arts! Given the cast of characters -- 1931 stands as a fertile year for the twentieth century arts and for art deco in particular.
Contents include
Features work by Carlotta Petrina, Georgia O’Keefe, Max Beckmann, Tato, George Grosz, Alexandre Koslov, Jules Pascin, George Lazlo, Paul O’higgins, Ernest Fiene, Dorothy Eisner, Peggy Bacon, Fega Blumberg, E. Madeline Shiff, Nicolai Cikovsky, Charles Demuth, George Ashley, Shelby Shackelford, Rufino Tamayo, and many others.
Philip Cortelyou Johnson (July 8, 1906 – January 25, 2005) was an American architect who designed modern and postmodern architecture, as well as a Nazi sympathizer. Johnson's 1928 visit to the Bauhaus Dessau sparked his imagination and solidified his role as a proselytizer for the European Avant-Garde architecture. "We were proud to be avant-gardists; we wore our enthusiasm as a badge of honor that distinguished us as culturally superior to those around us." Johnson said. From this plateau, Johnson and his MoMA collaborators Barr and Hitchcock eventually labeled this architecture "The International Style."
The American Union of Decorative Artists and Craftsmen (AUDAC) was founded by professionals in 1928 to protect their industrial, decorative and applied arts concepts from piracy, and to exhibit their new work. AUDAC attracted a broad range of artists, designers, architects, commercial organizations, industrial firms and manufacturers. In 1927 Macy's Department Store held a well-attended Exposition of Art in Trade. This featured "modern products," many of them from the 1925 International Exposition of Modern Decorative and Industrial Arts in Paris, which was belatedly recognized by the US government as an important "modern movement.”
Immediate public and manufacturer demand for these new "Art Deco" styles was so obvious, and the need so great, that a number of design professionals—architects, package designers and stage designers— focused their creative efforts for the first time on mass-produced products. They claimed the new title of "industrial designer" which had originated in the US Patent Office in 1913 as a synonym for the then-current term "art in industry."
AUDAC was founded at a time when concerted attempts were being made to promote modern American design and decorative arts and was modelled on European precedents such as the Société des Artistes Décorateurs in France. “It is extremely ‘new art’ and some of it too bizarre, but it achieves a certain exciting harmony, and in detail is entertaining to a degree. [Everything is] arranged with an eye to display, a vast piece of consummate window dressing,” reported advertsing pioneer Earnest Elmo Calkins from the pavilions of the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes.
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