1929 Mexican Travel Pottery Farm Market Covarrubias Art Deco Poster 317423

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Seller: posterprintartshop ✉️ (1,650) 0%, Location: Branch, Michigan, US, Ships to: US & many other countries, Item: 335319212813 1929 MEXICAN TRAVEL POTTERY FARM MARKET COVARRUBIAS ART DECO POSTER 317423.

ORIGINALLY A COVER FOR THE FINE TRAVEL MAGAZINE THIS ART DECO POSTER STYLE COMMERCIAL GRAPHIC BY COVARRUBIAS (BELIEVED TO BE HIS ONLY TRAVEL COVER) HAS BOLD BRIGHT ART DECO STYLE AND WOULD BE A GREAT PRINT TO DISPLAY IN ANY ROOM OFFICE OR RESTAURANT 
 

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 - 1929

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.

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We ship in custom made extra thick ROUND TUBES..... WE SHIP POSTERPRINTS ROLLED + PROTECTED BY PLASTIC BAG

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POSTERPRINTARTSHOP



DESCRIPTION OF ITEM: additional information:


ARTIST:  Miguel Covarrubias , also known as  José Miguel Covarrubias Duclaud   (22 November 1904 — 4 February 1957) was a Mexican  painter,  caricaturist,  illustrator,  ethnologist  and  art historian. Along with his American colleague  Matthew W. Stirling, he was the co-discoverer of the  Olmec  civilization.

Early life

José Miguel Covarrubias Duclaud was born 22 November 1904 in  Mexico City.  After graduating from the  Escuela Nacional Preparatoria  at the age of 14, he started producing caricatures and illustrations for texts and training materials published by the Mexican Ministry of Public Education.  He also worked for the Ministry of Communications.

In 1923, at the age of 19, he moved to New York City armed with a grant from the Mexican government, tremendous talent, but very little English.  In her book  Covarrubias , author Adriana Williams writes that Mexican poet  José Juan Tablada  and New York Times critic/photographer  Carl Van Vechten  introduced him to New York's literary/cultural elite (known as  the Smart Set ).  Soon Covarrubias was drawing for several top magazines, eventually becoming one of  Vanity Fair   magazine's premier caricaturists.

Theatre work

A man of many talents, he also began to design sets and costumes for the theater including Caroline Dudley Reagan's  La Revue Negre   starring  Josephine Baker  in the show that made her a smash in Paris. Other shows included  Androcles and the Lion ,  The Four Over Thebes , and the Garrick Gaities'  Rancho Mexicano   number for dancer and choreographer  Rosa Rolando  (or Rolanda; born Rosemonde Cowan, and later to take the name Rosa Covarrubias). The two fell in love and traveled together to Mexico, Europe, Africa and the Caribbean in the mid to late 1920s. During one of their trips to Mexico, Rosa and Miguel traveled with  Tina Modotti  and  Edward Weston, who taught Rosa photography. Rosa was also introduced to Miguel's family and friends including artist  Diego Rivera. Rosa would become lifelong friends with Rivera's third wife, the artist  Frida Kahlo.

Caricatures and illustrations

Miguel's artwork and celebrity caricatures have been featured in  The New Yorker   and  Vanity Fair   magazines.  The linear nature of his drawing style was highly influential to other caricaturists such as  Al Hirschfeld. Miguel's first book of caricatures  The Prince of Wales and Other Famous Americans   was a hit, though not all his subjects were thrilled that his sharp, pointed wit was aimed at them. He immediately fell in love with the Harlem jazz scene, which he frequented with Rosa and friends including  Eugene O'Neill  and  Nickolas Muray. He counted many notables among his friends including  Zora Neale Hurston,  Langston Hughes  and  W.C. Handy  for whom he also illustrated books. Miguel's caricatures of the jazz clubs were the first of their kind printed in  Vanity Fair . He managed to capture the spirit of the  Harlem Renaissance  in much of his work as well as in his book,  Negro Drawings.   He did not consider these caricatures, but serious drawings of people, music and a culture he loved. Covarrubias also did illustrations for George Macy, the publisher of The Limited Editions Club, including  Uncle Tom's Cabin ,  Green Mansions ,  Herman Melville's  Typee , and  Pearl Buck's  All Men Are Brothers . Heritage Press, the sister organization of The Limited Editions Club, reprinted unsigned editions. In addition he did illustrations for publisher Alfred & Charles Boni's  Frankie and Johnny   for a young writer who would become a good friend and film director named  John Huston. Today, these editions are highly sought after by collectors.

He collaborated in Austrian Artist  Wolfgang Paalen's journal  Dyn   from 1942 to 1944. Additionally his advertising, painting and illustration work brought him international recognition including gallery shows in Europe, Mexico and the United States as well as awards such as the 1929 National Art Directors' Medal for painting in color for his work on a Steinway & Sons piano advertisement.

Painting

Covarrubias was invited by the 1939-1940  Golden Gate International Exposition  (GGIE) that was held on  Treasure Island, "to create a mural set entitled  Pageant of the Pacific   to be the centerpiece of Pacific House, 'a center where the social, cultural and scientific interests of the countries in the Pacific Area could be shown to a large audience.'"  Covarrubias painted the six murals for GGIE in San Francisco with his assistant  Antonio M. Ruiz. The set of murals featured oversized, "illustrated maps entitled:  The Fauna and Flora of the Pacific, Peoples, Art and Culture, Economy, Native Dwellings,   and  Native Means of Transportation.   These murals were immensely popular at the GGIE and were later exhibited at the  American Museum of Natural History  in New York. Upon returning to San Francisco, five of the murals were installed at the World Trade Club in the  Ferry Building  where they hung until 2001. The whereabouts of the sixth mural,  Art and Culture,  are unknown and has been the subject of great speculation."

The Fauna and Flora of the Pacific  mural is on display at the  de Young museum  in San Francisco. "The colorful map depicts the four Pacific Rim continents with examples of their flora and fauna suspended in a swirling Pacific Ocean populated with sea creatures."

The  Art Deco  style, which originated in France just before  World War I, had an important impact on architecture and design in the United States in the 1920s and 1930s. The most famous examples are the skyscrapers of  New York City  including the  Empire State Building,  Chrysler Building, and  Rockefeller Center. It combined modern aesthetics, fine craftsmanship and expensive materials, and became the symbol of luxury and modernity. While rarely used in residences, it was frequently used for office buildings, government buildings, train stations, movie theaters, diners and department stores. It also was frequently used in furniture, and in the design of automobiles, ocean liners, and everyday objects such as toasters and radio sets. In the late 1930s, during the  Great Depression, it featured prominently in the architecture of the immense public works projects sponsored by the  Works Progress Administration  and the  Public Works Administration, such as the  Golden Gate Bridge  and  Hoover Dam. The style competed throughout the period with the  modernist architecture, and came to an abrupt end in 1939 with the beginning of World War II. The style was rediscovered in the 1960s, and many of the original buildings have been restored and are now historical landmarks.

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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