Comparing Jules Cheret And Will H. Bradley's Art
In this essay I will be discussing French artist Jules Cheret’s art work: La Loie Fuller (1893, figure 2.3) and American artist Will H. Bradley’s art work: The Chap Book, Thanksgiving no. (1895, figure 2.24) in a compare and contrast exercise, looking at both the similarities but also what makes these two works very different. The art works are both dated by the end of the nineteenth century. Around the same time, the Industrial Revolution brought a huge boost productivity, but also changed the social structure in Europe. Some artists start interest in finding a new artistic vocabulary that could best express the industrial world in which they lived. Therefore, an artistic movement called Art Nouveau has started in around 1890 to1910. It turned Western Classicism into Modernism. Jules Cheret and Will H. Bradley’s art
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works are both great examples of this movement. Their works well capture the characteristic of Art Nouveau movement and shared similar compositional attitudes. The difference between La Loie Fuller (1893, figure 2.3) and The Chap Book, Thanksgiving no. (1895, figure 2.24) is that they have different stylistic streams.
Although La Loie Fuller (1893, figure 2.3) and The Chap Book, Thanksgiving no.
(1895, figure 2.24) are come from different artist and different country, they still have much in common. First and foremost, Jules Cheret and Will H. Bradley are both well know as master of poster design during the Art Nouveau period. Therefore, most of their works have a same purpose is to served the needs of commerce and industry. Jules Cheret had designed over nine hundred posters for performers, products, and theatres. His art work La Loie Fuller (1893, figure 2.3) is one of the commission from the theatres. In common, Will H. Bradley’s Thanksgiving poster is also a commission that he accepted from a literary magazine named The Chap Book. Besides, the art of Japanese woodblock prints had enormous implications on graphic designers by the later nineteenth century. Inevitably, Cheret and Bradley have been affected too. For instance, La Loie Fuller (1893, figure 2.3) and The Chap Book, Thanksgiving no. (1895, figure 2.24) are both displays some Japanese style. They dominated by large central figures, simplified backgrounds, and the flat colour and crisp linear
contours.
In Art Nouveau, Women was one of the important theme. Unlike the previous generations, women in this time period became more and more independent. However, the Art Nouveau woman translated from majestic and elegant look to enchanting look. The new advertising and poster art during Art Nouveau movement begin to use enchanting look women as enticing figures. In addition, the artists and designers put more interests in popular dancer or performers. For example, the female figure in Jules Cheret’s art work is the popular American dancer who named Loie Fuller (1862-1928). In the poster, she wear diaphanous and flowing silk costumes spins on the stage and illuminated by colorized lights. Unlike Cheret’s La Loie Fuller (1893, figure 2.3), Bradley’s Thanksgiving poster didn’t use an actual person as the protagonist. He deployed a women who wear Japanese style make up as the central figure of his poster. Moreover, Bradley’s use of repetitive curvilinear
Except the Japanese style that La Loie Fuller (1893, figure 2.3) and The Chap Book, Thanksgiving no. (1895, figure 2.24) both referred. Jules Cheret’s poster also have another major stylistic streams – Rococo. Rococo is an eighteen century artistic movement and style. Jules Cheret didn’t fully following the traditional Rococo style. He recreated it by combining with his own innovations. In La Loie Fuller (1893, figure 2.3), Cheret updating traditional Rococo style clothing into a diaphanous silk to let the figure became more enchanting. He also kept Rococo style lines to depicted the figure. By contrast, the stylistic of Will H. Bradley’s poser also inspired a lot by medieval European styles. In Bradley’s Thanksgiving poster, from the figure’s dresses we can clear see a reference to old European style.
In conclusion, Jules Cheret’s art work: La Loie Fuller (1893, figure 2.3) and Will H. Bradley’s art work: The Chap Book, Thanksgiving no. (1895, figure 2.24) are both excellent art works that produced by two prominent artists at same artistic movement – Art Nouveau. The two art works are fully demonstrate the artists’s innovation in this time period. Artists from the era always have disparate styles. They inspired by different cultures, different artists’ art works, or nature, or innovate by themselves. Art Nouveau seem a bridge, Classicism became Modernism through this bridge. “Art Nouveau” was only a name of a store that opened by a businessman, but it then developed into an artistic movement. This name enveloped lots of different artists. The different artists all have their own style. Thus, “New” is a common characteristic of the artists during the Art Nouveau movement. In addition, “New” is also a common feature that we should have now -- to innovate works for our time.
works are both great examples of this movement. Their works well capture the characteristic of Art Nouveau movement and shared similar compositional attitudes. The difference between La Loie Fuller (1893, figure 2.3) and The Chap Book, Thanksgiving no. (1895, figure 2.24) is that they have different stylistic streams.
Although La Loie Fuller (1893, figure 2.3) and The Chap Book, Thanksgiving no.
(1895, figure 2.24) are come from different artist and different country, they still have much in common. First and foremost, Jules Cheret and Will H. Bradley are both well know as master of poster design during the Art Nouveau period. Therefore, most of their works have a same purpose is to served the needs of commerce and industry. Jules Cheret had designed over nine hundred posters for performers, products, and theatres. His art work La Loie Fuller (1893, figure 2.3) is one of the commission from the theatres. In common, Will H. Bradley’s Thanksgiving poster is also a commission that he accepted from a literary magazine named The Chap Book. Besides, the art of Japanese woodblock prints had enormous implications on graphic designers by the later nineteenth century. Inevitably, Cheret and Bradley have been affected too. For instance, La Loie Fuller (1893, figure 2.3) and The Chap Book, Thanksgiving no. (1895, figure 2.24) are both displays some Japanese style. They dominated by large central figures, simplified backgrounds, and the flat colour and crisp linear
contours.
In Art Nouveau, Women was one of the important theme. Unlike the previous generations, women in this time period became more and more independent. However, the Art Nouveau woman translated from majestic and elegant look to enchanting look. The new advertising and poster art during Art Nouveau movement begin to use enchanting look women as enticing figures. In addition, the artists and designers put more interests in popular dancer or performers. For example, the female figure in Jules Cheret’s art work is the popular American dancer who named Loie Fuller (1862-1928). In the poster, she wear diaphanous and flowing silk costumes spins on the stage and illuminated by colorized lights. Unlike Cheret’s La Loie Fuller (1893, figure 2.3), Bradley’s Thanksgiving poster didn’t use an actual person as the protagonist. He deployed a women who wear Japanese style make up as the central figure of his poster. Moreover, Bradley’s use of repetitive curvilinear
Except the Japanese style that La Loie Fuller (1893, figure 2.3) and The Chap Book, Thanksgiving no. (1895, figure 2.24) both referred. Jules Cheret’s poster also have another major stylistic streams – Rococo. Rococo is an eighteen century artistic movement and style. Jules Cheret didn’t fully following the traditional Rococo style. He recreated it by combining with his own innovations. In La Loie Fuller (1893, figure 2.3), Cheret updating traditional Rococo style clothing into a diaphanous silk to let the figure became more enchanting. He also kept Rococo style lines to depicted the figure. By contrast, the stylistic of Will H. Bradley’s poser also inspired a lot by medieval European styles. In Bradley’s Thanksgiving poster, from the figure’s dresses we can clear see a reference to old European style.
In conclusion, Jules Cheret’s art work: La Loie Fuller (1893, figure 2.3) and Will H. Bradley’s art work: The Chap Book, Thanksgiving no. (1895, figure 2.24) are both excellent art works that produced by two prominent artists at same artistic movement – Art Nouveau. The two art works are fully demonstrate the artists’s innovation in this time period. Artists from the era always have disparate styles. They inspired by different cultures, different artists’ art works, or nature, or innovate by themselves. Art Nouveau seem a bridge, Classicism became Modernism through this bridge. “Art Nouveau” was only a name of a store that opened by a businessman, but it then developed into an artistic movement. This name enveloped lots of different artists. The different artists all have their own style. Thus, “New” is a common characteristic of the artists during the Art Nouveau movement. In addition, “New” is also a common feature that we should have now -- to innovate works for our time.