Peintres

Peintres — marelibri

1913réf. 3556New York: Vreeland Advertising Press 1913. First edition first state. Half-title: International Exhibition of Modern Art. New York 1913. Title-page with vignette; printer's statement on verso. Publisher's color-illustrated wrappers. Advertisements also on inside front and back wrappers. Spine slightly creased with minor surface wear; shallow wear to extremities; faint scattered spotting to covers and some light soiling including a small stain to the lower front cover near the spine. Minor edge creases to corners. Internally clean and complete. Some rust marks at inner margins from original staples. Numerous contemporary pencil annotations throughout the List of Artists and Their Works pp. 17-67 mostly check marks underlining and descriptive marginalia e.g. "cubist" "really good" "awfull" all in a single hand and adding evidential interest. Overall a good to very good copy. First edition first state. Half-title: International Exhibition of Modern Art. New York 1913. Title-page with vignette; printer's statement on verso. Publisher's color-illustrated wrappers. Advertisements also on inside front and back wrappers. pp. 1-16 including ads half-title title imprint preface etc. 17-97 1 blank 4 ads; with a full-page floor plan printed on p. 68. 12mo 195 × 105 mm. First edition first state of the scarce 1913 Armory Show catalogue-an iconic document of American modernism-here with contemporary annotations offering insight into early reception. Catalogue of the International Exhibition of Modern Art-commonly known as the 1913 Armory Show-held at the Sixty-Ninth Regiment Armory in New York City. Organized by the Association of American Painters and Sculptors the show was the first major exhibition in the United States devoted to modern art. It presented some 1300 works by over 300 avant-garde European and American artists offering American audiences their first direct encounter with Post-Impressionism Fauvism and Cubism. Works by Duchamp Matisse Brâncuși and Picasso provoked widespread public and critical reaction and the exhibition is now regarded as a foundational moment in the history of American modernism. After its New York debut the show traveled to Chicago and Boston. This is the first state of the first edition with 97 numbered pages corresponding to the Getty Research Institute copy LCCN 15013453; Accession no. 91-B12639; OCLC 80870711. This version omits the "legend" for the floor plan and contains numerous inconsistencies in the artist index. Several artists are listed twice Gauguin appears three times occasionally under variant spellings or with or without abbreviated forenames and some duplications lack clear explanation. It lists 1040 works; six additional entries-by J. Alden Weir and George Bellows-appear only in the later 105-page issue. We are not aware of any prior bibliographical study describing the differences between these print states. The present version is presumed earlier based on the uncorrected index and omissions later rectified. . [Vreeland Advertising Press] unknown

US Air Force Nose Art ; Painters U SBiblio.com

World War II Aviation Nose Art on U.S. Army Air Forces Bomber and Fighter Aircrafts Photo Archive

1943réf. 239731943. World War II military nose art photo archive circa 1940s documenting the names pin up figures cartoons and painted emblems through which American servicemen personalized aircraft during and immediately after the global conflict. Nose art occupied an unofficial visual culture alongside standardized military insignia allowing crews to attach humor sexuality regional identity private jokes and individual names to mass produced machines assigned by the armed forces. The practice became so widespread during World War II that pin ups cartoons and popular culture imagery applied to aircraft became commonly identified as "nose art" while surviving institutional collections preserve comparable photographs because the painted designs themselves were vulnerable to repainting damage reassignment and postwar disposal. Photo archive of 18 silver gelatin photographs measuring from 1.75 x 3 to 4 x 5 inches circa 1940s. The photographs concentrate on painted fuselage decorations and names on American military aircraft particularly heavy bombers such as the B-29 and B-24 with designs including glamorous women reclining pin ups cartoon figures lettering and comic imagery. Identifiable aircraft include "Supine Sue" subtitled "The international figure" with a reclining woman painted beside the cockpit; "The Arabian Lady" with a veiled or draped female figure; "The Dragon Lady" represented by a large female figure in a cloak; "Tail Wind" accompanied by a pin up; and "The Lady is a Tramp." Other views record "Forbidden Fruit" additional female figures painted at large scale on aircraft skins humorous character designs and servicemen posed beside decorated aircraft. Several photographs move closer to the painted surfaces preserving rivets mission markings lettering and the relationship between the illustrations and the industrial aluminum skin beneath them. One image records comparable decoration on a ship rather than an aircraft extending the group beyond aviation to the broader wartime practice of personalizing military equipment. Versos carry scattered numbers and handwritten identifications including one inscription reading "Charles Polutsky just before taking off from Alamogordo New Mexico to Gulfport Miss." while another photograph is dated "11/10/45." American servicemen had personalized aircraft before World War II but the scale of wartime mobilization made the practice especially visible across U.S. Army Air Forces units. Smithsonian collections preserve wartime photographs of named aircraft and nose art from the Pacific China Burma India and other theaters while the National Museum of the United States Air Force identifies pin up girls cartoons and contemporary popular imagery as characteristic forms of World War II aircraft decoration. Artists could be ground crewmen or servicemen with professional artistic experience: Army Air Forces photographer Robert Serotkin for example painted aircraft while serving during the war and Corporal Tony Starcer became known for painting the Memphis Belle and other aircraft of the 91st Bomb Group. The photographs preserve the intersection of standardized military machinery with an unofficial servicemen's culture that transformed individual aircraft into named and illustrated objects carrying the humor erotic imagery references and identities of their crews. Light to moderate handling wear occasional creasing edge wear tonal variation and scattered surface marks; several prints with handwritten or stamped verso markings. Overall in good condition. A concentrated photographic record of the vernacular art through which American servicemen personalized wartime aircraft and military equipment. unknown