Waterhouse Gallery, Santa Barbara

If you happen to find yourself in Santa Barbara, California and are hankering for viewing representational paintings, the Waterhouse Gallery should be on your to-see list.

It's tucked on the corner of an L-shaped pedestrian passageway (La Arcada) connecting the main drag (State Street) with East Figueroa Street, which runs at a right-angle to State. The image above shows the gallery from a small plaza at the angle of the L.

When I last visited, the gallery was having its annual Figurative Exhibition, a display of paintings by many of the better currently active painters who disdain abstraction and the edgy postmodern idiom.

The gallery is not large, so the paintings on view also tended to be of modest size and packed together. This was no problem, so far as I am concerned, because they were mostly up close and I could concentrate on nearly every one.

My main complaint is that the paintings lacked an accompanying label with the name of the artist and the title. I wonder why. One possible reason is that this forces the viewer to inquire the gallery staff, thereby starting a conversation that might lead to a sale. This is fine with capitalist tool me, though I can't afford quality paintings and would find it useful to simply gather information without interacting with the staff. However, the second link above is to the paintings on view and identifies who made them, so all was not totally lost.

Seen on the Road, November 2012

If it's Novemeber, then that's when my wife and I are on the road down to Las Vegas and then to Los Angeles, Santa Barbara and points north.

Here are a few things that caught my attention.

Yes, Las Vegas has lots of "visual clutter." But that's what can make it interesting. I don't gamble, but instead while away our annual weekly stay by strolling the streets, casinos and shops looking at architecture, products and people. The photo above features the plaza in front of the Venetian casino.

Nearby is the Fashion Show indoor mall which has many of the same upscale shops found in the casinos along with some of the usual mall fare. I have no idea what to make of that structure in front of it. Chalk it up to being in Vegas, I suppose. The truck with the sign advertising girls who really want to come visit you is one of a fleet that prowls up and down the Strip.

I noticed the "tasteful" jacket and matching shoes in a show window of the Billionaire shop in the Palazzo casino. Items in the shop are very expensive (more than a thousand for a pair of shoes, for instance), and if that jacket is any indication, marketed to the nouveau riche.

Meanwhile, over in the Wynn's, these ladies are setting up a window display at the Chanel shop. It seems that this season Chanel, Dior and some other couturiers are into puffy, above-the-knee dresses. Chanel in all its Vegas shops (and elsewhere, I suppose) has the mannequin's normal fake hair topped by a Louise Brooks style helmet wig of an unnatural shade (the wig leaves some of the other "hair" showing in all cases). I am not sure what Coco herself would make of this, given her preference for simple, understated, practical clothing.

On to Santa Barbara and its Nuevo Paseo, a downtown outdoor shopping mall. Before the Great Recession, Santa Barbara had plenty of stores. But now one sees a noticeable number of closed ones such as this former chocolate shop. Note that the Santa Barbara area has plenty of rich people. I noticed empty stores up in Carmel as well, Carmel being even more upscale. Given that the voters of California just voted in an income tax increase, I expect to find even more empty stores the next time I visit.

Speaking of Carmel, I thought it'd be fun to toss in a photo of Storybook Style as found in the village of Carmel-by-the-Sea itself. I've photographed this one before, but always there were cars parked in front, preventing a full view. I took this on a dreary day just before shops opened.

I thought they had been consigned to History. But no! It seems that Oscar Meyer has had some new Wienermobiles built such as this one seen in northern California. Long may they roll.

New Illustration Readings

Here are two items of interest to readers who like pre-1970s illustration.

First is issue No. 39 of Illustration magazine. I'm citing it because its cover and lead article deal with Pete Hawley, famous for the illustrations he made for Jantzen back in the 1950s. I really need to write a post about him. Another article in that issue you might enjoy concerns the somewhat enigmatic Heinrich Kley who also deserves a post.

The next item worth your while is the new book about Albert Dorne with text by primo illustration maven David Apatoff who mentions it in this post on his Illustration Art blog. The huge news in this post is that he is working on a book about the great Bernie Fuchs. If there's anyone more qualified to do a biography about Fuchs, I'll be stunned to know who it might be. I can hardly wait for the Fuchs book.

As for the book about Dorne, I'm not so sure. It isn't Apatoff's problem, but instead mine. That's because, while I respect Dorne for his work and career, I could never get excited about his illustrations, competently done though they were. So I'll mull over buying the book for a while. Oh: I ought to do a Dorne post too.

Herbert La Thangue: The Rural Life

Henry Herbert La Thangue (1859 – 1929), according to this Wikipedia entry, was associated with the Newlyn school of British rural genre painting. But that entry does not indicate that he painted in Cornwall. Rather, his British base of operations was mostly in Sussex, though he also painted on the continent.

La Thangue studied both in England and France (under Gér&oacic;me), but failed admission to the Royal Academy and went on to help found the New English Art Club, a rival organization.

Influences have been credited to the Barbizon school and Jules Bastien-Lepage. Most of his paintings dealt with farm life, if a Google search is any criterion. Images of some of his works are below.

Gallery

The Return of the Reapers - 1886

The Sawing Horse

Winter in Liguria

An Autumn Morning - 1897

Packing Grapes

In the Orchards, Haylands, Graffham

Lhermitte: Rural Realist

Léon Augustin Lhermitte (1844-1925) was a "realist" painter in more than one sense. In the first place, his style was traditionally representational, to which the everyday usage of realist applies. He also was a Realist in the art history sense of depicting everyday scenes as opposed to subjects taken from mythology, history, religion and others favored by the Academic art establishment of his day. His Wikipedia entry is here, and more detailed biographical sketches can be found here and here.

Sources indicate that Van Gogh liked Lhermitte's work, his illustrations and pastels in particular. Perhaps that had to do with their subject matter.

That said, Lhermitte is not well known today even though his La paye des moissonneurs is usually on display at Paris' Musée d'Orsay.

Below are examples of his work. As can be seen, he favored rural scenes or, failing that, proletarian ones.

Gallery

Les cordonniers de Mont-Saint-Père - 1880

La paye des moissonneurs - 1882

Moissonneurs à Mont-Saint-Père - 1883-84

Le reveil du faucheur - 1899

Le pardon de Ploumanach'h

Les Halles, study - 1889

The Gleaners - c. 1908

A.M. Cassandre, Master of the Poster ... and More

Adolphe Jean-Marie Mouron (1901 - 1968), who was born of French parents in Kharkov and died by his own hand in Paris, is known to the commercial art world by his professional pseudonym, A.M. Cassandre. His Wikipedia entry is here, and a more detailed description of his professional work is here.

Cassandre's heyday was from the mid-1920s through the 1930s. His poster and magazine cover illustration style was Moderne with occasional touches of surrealism; it was highly regarded at the time and respected today. Little question that he was one of the best at his trade. Besides that, he designed types faces and later in his career was involved in theater work.

Gallery

Étoile du Nord - 1927

Nord Express - 1927

Normandie - 1935
Above are three of his most famous travel posters.

Poster for Dubonnet
He did a long series of posters for Dubonnet.

Bifur typeface - 1929

Peignot typeface - 1937
Examples of two of his typeface designs.

Harper's Bazaar cover - September 1937

Harper's Bazaar cover - November, 1937
Some fashion magazine covers.

1930s Automobile Front-End Styling Detailing

Modernist design purists during the first half of the twentieth century made avoiding decoration a central part of their design religion: Thou Shalt Not Decorate!

Easier said than done, once one moves away from architecture and perhaps furniture and dining-wear design. That's because it's possible to take functional elements of the object and arrange them in a pleasing and, yes, decorative manner ("function" was another religious tenet, especially for architects and industrial designers). Actually, one can do that for architectural objects as well.

During the mid-1920s, once automobiles became reliable to operate, it began to dawn on manufacturers that a car's appearance could become a selling point if customers no longer felt it necessary to shop with reliability in mind. So styling operations began to emerge in the larger companies as well as in firms specializing in providing car bodies.

Speaking of "function," an important function for any consumer-goods product is saleability, and a good designer needs to keep this in mind. Even if car stylists were of the modernist-purist school of thought, design proposals for production cars had to face approval by corporate officers whose fields included engineering and sales as well as general management. Which is why automobiles have almost always included styling elements that might be considered decorative.

The 1930s were years when automobile styling was becoming established along with the new field of industrial design. Those years also marked the transition in decorative fashion from what we now call Art Deco to "Moderne," a simpler style incorporating elements related to streamlining.

Below are some examples of front-end or "face" styling elements from that period. I took those photos during visits to various automobile museums over the past few years.

Gallery

Pierce-Arrow Silver Arrow - 1933
Phil Wright's sensational (for its time) Silver Arrow is noted for his predictive design for the main body of the car: it includes a number of features that did not appear on mass-production cars until around the 1948 model year. The front end is not heavily decorated, this in keeping with early 1930s practices on the luxury end of the automobile spectrum.

Studebaker - 1933
Studebaker (which at the time owned Pierce-Arrow) presented a transitional front end, also typical of 1933. Decorative elements include the radiator cap "mascot," the crest on the grille V-divider and those curious, sad-looking oval headlamps.

Chrysler Airflow - 1934
Chrysler's radical, but ill-fated (sales-wise) Airflow used several Deco/Moderne elements. The front seats featured chromed tubing as frames. Above the radiator intake opening are extensions of the vertical grille-bars over the hood's sheet metal as a decorative element that are shown here. Also note the winged mascot coupled with the Chrysler blue ribbon symbol.

Hudson - 1936
Hudson came out with a completely new body for 1936 and for a reason I cannot fathom, Frank Spring's styling crew planted a bizarre grille design on it. "Fencer's mask" (noticeably convex) grilles were the rage across the industry that year, but they took the form of uniform bar or mesh patterns. Instead, Hudson opted for a central section featuring vertical bars that was flanked by areas of thick mesh created by perforating some sheet metal. Note the baroque curve along the top end of the grillework that transitions to the centerline of the hood. The oddest detail is that winged, aerodynamically-shaped amber-like plastic mascot. It resembles a winged cigar. Hudson used a different mascot for its 1937 cars for some strange reason.

Hispano-Suiza - 1937
Shown is one of the last of the famed Hispano-Suiza line of luxury cars built in France. Very conservative in terms of decoration, though the shapes of the hood, grille and headlamp-fender ensemble has a decorative cast. Pseudo-streamlining was the rage by the mid-30s, so we see teardrop-shaped front fenders and blended headlamp housings offsetting a hood-grille combination more appropriate for 1931.

Lagonda - 1939
lagonda was a British luxury automobile, and British styling at all price levels was conservative well beyond World War 2. The Lagonda grille-hood grouping is rounded as a bow to aerodynamics, as are the fenders. But the headlamps, fog lights and exterior-mounted horns make for an interesting older-fashion decorative counterpoint.

Plymouth - 1939
The 1939 Plymouth's front end is in line with American Streamlined Moderne styling of that year. Note that the headlamps are buried in the front fenders and the grille in in the process of transitioning from a vertical to a horizontal shape. The mascot is a streamlined version of the good ship Mayflower that deposited the Pilgrim Fathers and their families at Plymouth Rock in Massachusetts in 1620; Plymouth used similar mascot designs for many years. The most decorative bits are the thin chromed strips that define the grille openings -- flutings, speed lines and similar touches being the height of fashion in those days.