Philips c.1950
Anonymous
48” x 33”
B+, L

There is an exhilarating course of action here, sustained by not only masterful composition but, especially, masterful deployment of color. The capture of electrodynamics is shown emanating from a pink sunset (discreetly banded by the corporate name), as directed toward illumination in a residential setting, held by a midnight blue.

But the science of this event has been superseded by the heavenly figure, in order to sustain the sense of the marvel (as distinct from the machine) that is nature, in its embrace of human history, and the marvel that is human intervention as collaborating with nature.

I love how the sylph is all aloft in art deco air-brush touches of her dress and hair, as complemented by the surreal clouds and window. In this way, the history of art as well as science is included in the beautiful, mysterious process of illumination.

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Nouveautes de la Saison c.1930
S. Jubssonne ?
23 ½” x 37 ¼”
B+, L

The season is Spring, with its delicate pink blossoms. And the special event, about which the new fashion lines are arrayed and embellished, is Valentines.

The artist and the enabling advertiser were on the same page in seeing this moment as calling out for simple, heartfelt love, in contrast to the sharp irony and overpowering chic far more characteristic of such a comportment.

I'm thrilled by the current of response induced by, first of all, the delicate, dark line of the bird's wing by the woman's hand and cheek. The coursing of attention through the rest of the bird's outlines, and then meeting the woman's eyelashes and eyebrows, running then to the little branches, conveys a communion of surprising scope.



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Nouveautes de la Saison c.1930
Caroline c.1980
Rene Gruau
63" x 47"
B+, p

Our Posters of the Month have tended to consist of deluxe lithos or silkscrees from the pre-1960s era. But there are serigraphic (and hence continuous-color) designs from the more recent era which deserve to be appreciated.

Take, for instance, this "impeccable" (indeed) offering by the formidable Rene Gruau. I love how the white stripes of the figure's dress act as conduits bringing the surge of the surround into a confluence with the accordingly authoritative and buoyant woman of our time. This work is about so much more than women's fashion retailing, and in that exciting range it belongs in the company of treasured lithographs.Gruau---who does in others of his works display a talent for the high drama of glamor---also realizes that a rich telepathy is at hand, in speaking with the right touch to those who have a daytime existence.



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Europe 1950
Reyn Dirksen
29 1/4" x 21 1/2"
B+, L

All our colors to the mast," is the stirring subtitle here, for this electric graphic concerning the Marshall Help Plan For Europe, designed by a great graphics exponent, the Dutch artist, Reyn Dirksen (1924-1999)


It's right after World War II, and the smallish countries of Europe are poverty cases, and, what's worse, demoralized by the task of getting back on track. The need for concerted economic effort is paramount, and our poster here addresses the situation with the visual metaphor of a ship in troubled waters. The sails consist of the flags of the countries pooling their energies to make their way out of heavy shadows to a normal harbor.

The vivacity in this work is provided by harmonization of the various national colors. Moreover, the positioning of the various swatches of white provides a trajectory of lift. The modelling enacts classic European craftsmanship, a serious asset in the arena of global competition.

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