Electric cars are on the road right now and we have to pause and savor what a shift they bring our way. As you can see from the beautiful and critically acclaimed example shown here, namely, the Tesla Model S (100% electric), the configuration is quite compatible with the general range of recent vehicles redolent of handsome aerodynamics, the latest body finishes and a technical payload facilitating road worthiness and comfort. But the environmental factors hidden within the apparatus induce us to reconsider the traditional gas-driven automobiles  carrying a problematic liability comparable to smoking and its hazardous emissions.   


Exposicion de Automovil (1936)M. Garcia;26″ x 21″;B+, Maquette

Just as many cigarette graphics are, demonstrably, exciting to such an extent that they can be cherished for their pizzazz (however lethal), the internal-combustion-engine vehicles, for all the ravages they represent, are undeniably evocative adjuncts of the modern sensibility. Hence this image literally places the phenomenon on a pedestal to be feted as a harbinger of cultural advancement.


Le Transport Gratuit Le Transport Gratuit (1935)Pierre Fix-Masseau;38 1/2″x24″;A,L

A tony automobile, rendered by a master of vintage graphic design, seen here as part of a marvel of urbane efficiency.

revista-ford-feb-1933 Revista Ford February (1933)Riu;13 ¼” x 9 3/4”;A-, Magazine; 80pp.

A chariot fit for a grand and joyous occasion. The vitality of the coloration, with the car at its heart, upstages the murky blue surroundings of the front cover composition.


Revista Ford February (1935)Joan Gil;13 ¼” x 9 3/4”;A-, Magazine; 80pp.

Celebrating the past for its beauties and excitements. Celebrating the beauties and excitements of the roadster. Who can deny that the car steals the show? And the deco typography further seals the deal!


L’Illustration  (Oct.6, 1934) Andre Marty; 15” x 11”; A-, Cover; approx. 150pp.


A powerful and white charger, and a regal family beholding its domain. French bucolic ideals making their special contributions to measured incursions into modernity.


 Les Embarras de Paris;GBT (1920)Andre Marty;9 1/2″ x 7 1/2″;A,P


This less than sanguine view of a city roaring forward, is especially French in it rustic perspective upon inorganic matters. But, true to its sophisticated context, this pochoir is more than a little proud of the stresses of Parisienne adventurousness. What was she doing in the middle of the road, anyway?

peugeot_vincentPeugeot (1924)Rene Vincent;46 1/2″x61 1/2″;A-,L

Another edgy inflection from the litho studios of Paris—this time pushing rather hard a modernity absolutely irresistible. The large scale of this poster underlines the powers of the product.



La Citroen; Le Polo (1922) GBT Pierre Mourgue;9 1/2″ x 7 1/2″;A,P

So French, in clinging to tony old overtures, while gunning them with tony new overtures.


service-for-everybody Service for Everybody (1935) Charles Relyea;9 1/2”x 7”A-, P; Framed

A gas station that could become a chic resort in its own right.

love-is-blindLove is Blind (1930s)Charles Relyea;8 1/4″ x 6 1/4″;A,P

Modern Love, where would it be (the graphic idea here implies) without modern cars ?

Kissel’s Garage (c.1935)Anonymous;22″ x 17″;A-,P

The brawn of gas-guzzlers—what’s not to love? The charms of earthy muscularity constitute the American version of that allegiance to both past and future, so readily discernible in French design.

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This entry was posted in Art Deco Posters&Graphics, Current Events, Illustration Art, Illustrators, Industrial Design, Modernist Posters&Graphics, Poster&Graphic Art, Poster&Graphic Artists and tagged , , , , , , , , , , , . Bookmark the permalink.

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