Exposition Internationale Paris 1937
Paul,Colin 1892-1985. Designed and printed for the
'Paris 1937, Exposition Internationale', colour lithograph poster,
printed by Imprimerie Jules Simon, Paris, 99 x 61.5 cm (39 x 24.25
ins), linen-backed. This surprisingly is in better colour than copies
in may museums and seems to have spent its life in a folder or cupboard
very bright ready to frame price includes shipping so cheaper if
collected very slight mark from rolling as seen in pic full
borders Laid to Linen professionally £625 inc
delvery
Paul Colin (27 June 1892 in Nancy,
France - 18 June 1985 in Nogent-sur-Marne) was one of France’s
greatest poster artists. He studied painting at the beaux-arts of
Nancy. In 1923 he met André Daven a partner of Ralph de
Maré, new director foth the Théâtre des
Champs-Elysées who was looking for talent and new shows. He
hired Jean Borlin, a star of the Royal Swedish Ballet. Colin designed
his fist poster for the movie Imaginary Jouney Voyage in 1925 in which
Borlin was the star. Made famous in 1925 by his poster for the
Revue Nègre, which helped to launch the career of
Joséphine Baker (who became his mistress), he worked for over
forty years in the theatre, creating not only posters but also numerous
sets and costumes. Very Art déco at the outset, (his Le Tumulte
noir is a masterpiece of the genre). A student of Eugène
Vallin and of Victor Prouvé, he is considered a master of the
modern school of poster art. In 1930 he opened the first poster school
where many of the most famous designers of the future generation were
trained. He worked during the war and on into the 1970s designing
travel posters.
The Exposition Internationale des
Arts et Techniques dans la Vie Moderne (International Exposition
dedicated to Art and Technology in Modern Life) was held in 1937 in
Paris, France. The Musée de l'Homme was created at this
occasion.After eight years of turbulent preparation, the last world
exhibition to take place in Paris opened on May 25th 1937, under the
shadow of the growing power of European dictatorships, whose pompous
architecture was on display there. In particular, the confrontation of
the pavilion of Nazi Germany with that of the Soviet Union – both
characterised by a stiff monumentalism – were in direct
opposition to the aim of the exhibition, which was to encourage
peaceful co-existence and co-operation among nations. Other buildings,
such as the Pavilion of Flight with its dynamic planes and the
emphatically down-to-earth Spanish pavilion, in which Picasso’s
protest painting “Guernica” hung, presented a modern
concept of architecture which contrasted sharply with the gesticulating
of the two dictatorships. £625
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