Man That Drew the Art Deco Pictures of Women
Erté: Male parent of Art Deco
past Judith Brown and Serena Kovalosky
Fireflies BIG Art Deco Print Erte
Romain de Tirtoff (1892-1990) was a Russian-born creative person, who worked in France under the pseudonym Erté, which was derived from the French pronunciation of his initials (pronounced [ɛʁ.te],AIR TAY). Erté grew up in St. Petersburg, Russia during the era of Mir Iskusstva, a time when creative geniuses such as Alexandre Benois, Léon Bakst and Sergei Diaghilev were fusing together the extravagances of rococo with fine art nouveau. Possessing a uniquely artistic flair, Erté's works included fashion illustrations, jewelry, costume blueprint and graphic fine art as well as opera, film and theater set designs. His name became synonymous with the art deco motility which uses bold colors and geometric shapes. The movement was ignited in Europe, enjoyed a loftier point during the roaring 1920s, and had a huge influence on modern art.
Born Roman Petrovich Tyrtov in 1892 in Saint petersburg, Russia, the artist moved to Paris in 1912 to fulfill his dream of condign a fashion designer, despite objections from his father who preferred he go along the family unit tradition and become a naval officer. Tirtoff took on the proper name of Erté to avert disgracing his family.
Impressed by his talent, professional couturiers were dandy to interact on projects, notably Paul Poiret, whereby Erté's detailed gouache and ink fashion drawings were sold to fashion houses.
Tanagra Bluish Limited Edition Print, 1989
His offset substantial contract with Harper'due south Bazaar mag launched his illustrious career, and every bit it progressed, Erté went on to cross barriers within the arts, becoming a revolutionary who cultivated an interdisciplinary approach, expressing the idea of "theatricality" through a multifariousness of mediums. His work as an illustrator led him to draw women'due south dresses and hats which in turn led to further roles as a designer not only of stage costumes, just production sets. His grand set designs included opera houses in Chicago and Paris and the Folies Bergère, a Parisian cabaret house with whom he had a working relationship from 1919 to 1930. The poster below is just 1 case of his highly stylized designs which oftentimes characteristic flowing materials, enhanced with jewels and decorative embellishments sketched on the basis of an fine art deco landscape. The shapes blend together in an effortless way. Erté remained close to the art deco style all his life; he was its pioneer. Even when its popularity subsided between the wars, he notwithstanding worked inside the parameters of fine art deco, receiving a "second wave" of public acclamation when the manner was revived in the 1960s.
The glamorous surroundings of the music halls undoubtedly had a profound effect on the continuation of Erté'southward work, maybe accounting for his interest in "visual spectacle" and the heavily stylized trunk displaying magical costumes. Information technology has been said that his "spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy"[i].
By the time he had become an established designer of mag covers for Harper's Bazaar (1916 – 1937), his notoriety was being galvanized and he produced a full of 240 magazine covers too as illustrations for Vogue. The prominence of these publications catapulted Erté, and fine art deco, into the spotlight. His lavish designs, sense of liberty and move coincided particularly well with the mood of the mag which mirrored women's growing liberty within fashion.
Folies Bergère (Cabaret Music Hall) - Paris, France
Hélène Martini, The Iron Lady presents "I Am Madly in Honey!"
Vintage Theater Poster by Erté c.1974
Described by some as a development of fine art nouveau (1890 – 1910), fine art deco is a dynamic mix of cubism, visual drama and diverse modernistic materials. Its effects have been felt throughout interior design, jewelry and compages. Examples of art deco buildings include the Chrysler building in New York, the Golden Gate Span in San Francisco and the Hoover building in London. They took the grade of symmetrical shapes with well-divers edges, much like Erté's sophisticated designs, in which the influence of distinct lines and geometric expression enhances a mod, fresh feel while maintaining a soft fluidity to the effigy.
Vertical and horizontal lines are used to depict stylised bodies, draped with rich velvet gowns in lavish colors which are dotted with materials such as beads and crystal. What would have been new and emerging trends back and so are now commonly seen in the way world, as are a wide range of materials including pearls and metal. Non simply did Erté cast a huge sway over twentieth century artistry, he bridged theater with mode. As his images drew attention away from the premise of the trunk as an entity in itself and towards the "spectacle," he encapsulated the want for fantasy through exuberant costume and glamour. Erté'southward visionary skill was applied to almost every single artistic subject in the twentieth century: magazine illustration, theater, opera and film. His designs were seized upon by famous couture houses such every bit Yves Saint Laurent, smashing to embrace such opulence.
Symphony in Black – Framed Erte Giclee Canvass Print Paintings Poster Reproduction
Upon shut examination, Erté's designs embody both a measureless imagination and precise detail. All of his images seem to contain a dissimilar storyline based on a faraway world in addition to varying materials, shape pattern and use of props. He often uses intricate, flowing trains in his wearing apparel gowns equally well as the embroidered headdress covered with sequins, chaplet or jewels. Even the textures are lifelike. Boldness of colour was certainly not feared. Erté was influenced heavily by realms removed from our own, specifically that of animals and cultures of the past including Indian Egyptian and Russian likewise as aboriginal Greek figures and pottery. He was drawn to the imagery of the peacock bird which can be traced in the outline of many of his pieces in terms of color and shape. Clearly the range of sources which triggered his artistic ideas is huge, even if looking at his costumes alone. All of this contributes to the fantastical, "performance" element of his piece of work.
The 1960s began a revival of art deco. As an innovative artist Erté turned his hand to statuary sculpture, replicating his designs in this new medium. His sense of characterization shines through yet once more, as does the lifelike presence of the figurines in which none of his detail is lost. Erté believed that this new art class would offer an opportunity to deliver greater authenticity and a revised moving ridge of artistic patterns. Further, he was aligning himself with what had become even more than of a visual society than information technology had been in the 1920s. One could say that a big part of his success is attributable to a sure shape-shifting quality, the fact that he was constantly applying himself to technique in accord with the developing stride of art merely without losing his identity. Art deco was becoming a commercial success that now defined artful civilization, and Erté was very much at the forefront.
In 1977 his "alphabet" series book was released, a creative depiction of each letter based on the homo body. Although this was started many years earlier, it had been put on hold due to an overflow of work projects.
In 1988, two years before his death in April 1990, Courvoisier commissioned Erté to create seven limited bottle designs for their Grande Champagne cognacs, with each of the bottles' pattern representing a different facet of the cognac-making procedure.
Today Erté'southward creative creations tin can be seen in museums effectually the world including New York's Metropolitan Museum of Fine art and London's Victoria and Albert Museum. Not but do they maintain their unusual, glamorous appeal but as well a timeless quality, no matter which medium has been used. The art deco style continues to influence modernistic day contemporary manner and jewelry. This is, to a large extent, due to Erté'southward imaginative powers and fine artistry.
Contemporary artist and sometime mode illustrator Barbara Tyler Ahlfield says of his work, "Erté's sense of drama and sophisticated style are the key elements that whatsoever serious style illustrator seeks to deliver through an illustration. The 1930s were a gilt age of Erte'southward art deco imagery in design just he was active and producing for decades - truly the dream of most artists, illustrators and designers."
"Le Mystere Des Pierreries" Large Art Deco Print Erte
Erte, Pearls and Emeralds Limited Edition,1990
Erte-Glamour-1997 Poster
Erte "Emerald Vase Newly Custom Framed Impress 17" x 19"
"Blossom Umbrella" BIG Fine art Deco Impress past Erte
Erte, Flapper Limited Edition, 1990
Sources
[ane] Jean Tibbetts, Erté, 1997
About the Authors
Judith Chocolate-brown is a freelance writer who, afterward obtaining a masters in English language from Kings Higher London, continued to pursue an interest in fine art. In her articles she draws links between fine art and literature, showing how both mediums have meaning in today's globe.
Contact Information: judithlbrown@hotmail.co.uk
Serena Kovalosky is a sculptor, cultural projection developer and motion picture producer who creates and produces projects at the intersection of art, culture and travel. She is the founder of Artful Vagabond Productions whose mission is to celebrate the creativity and inspiration that artists bring to this world and to promote the value of art in an "aesthetic" lifestyle.
Artful Vagabond Productions – world wide web.artfulvagabond.com
Serena Kovalosky artwork – musings-on-art.org/painter/serena-kovalosky
Source: https://musings-on-art.org/erte
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