Aline Fruhauf – MIdcentury Tastemakers

Aline Fruhauf
Muriel King (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Louise Barnes Gallagher (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Helen Cramp Cookman (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Aline Bernstein (stage designer)
1943
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Clare Potter (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Fira Benenson (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Nettie Rosenstein (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Omar Kiam (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Tom Brigance (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
William Pahlmann (interior designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Sally Victor (milliner)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Lilly Daché (milliner)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Pola Stout (textile designer)
1941
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
James Berryman (cartoonist)
1949
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Duncan Phillips (art collector)
1949
ink and watercolor on paper
National Portrait Gallery, Washington DC

from Santarém

Of course, I may be remembering it all wrong

after, after – how many years?

That golden evening I really wanted to go no farther;

more than anything else I wanted to stay while

in that conflux of two great rivers, Tapajós, Amazon,

grandly, silently flowing, flowing east.

Suddenly there'd been houses, people, and lots of mongrel

riverboats skittering back and forth

under a sky of gorgeous, under-lit clouds,

with everything gilded, burnished along one side,

and everything bright, cheerful, casual – or so it looked.

I liked the place; I liked the idea of the place.

Two rivers. Hadn't two rivers sprung

from the Garden of Eden? No, that was four

and they'd diverged. Here only two

and coming together. Even if one were tempted

to literary interpretations

such as: life/death, right/wrong, male/female

– such notions would have resolved, dissolved, straight off

in that watery, dazzling dialectic. 

In front of the church, the Cathedral, rather,

there was a modest promenade and a belvedere

about to fall into the river,

stubby palms, flamboyants like pans of embers,

buildings one story high, stucco, blue or yellow,

and one house faced with azulejos, buttercup yellow. 

The street was deep in dark gold river sand

damp from the ritual afternoon rain,

and teams of zebus plodded, gentle, proud,

and blue, with down-curved horns and hanging ears,

pulling carts with solid wheels.

The zebus' hooves, the people's feet

waded in golden sand,

dampered by golden sand,

so that almost the only sounds

were creaks and shush, shush, shush.

Two rivers full of crazy shipping – people

all apparently changing their minds, embarking, 

disembarking, rowing clumsy dories.

(After the Civil War some Southern families

came here; here they could still own slaves.

They left occasional blue eyes, English names,

and oars. No other place, no one

on all the Amazon's four thousand miles

does anything but paddle.)

– Elizabeth Bishop (1978)

Ikko Tanaka

Ikko Tanaka
The 8th Sankei Kanze Noh
1961
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Hanae Mori
1978
screenprint (advertising poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Nihon Buyo
1981
screenprint (tour poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Green and Water Campaign
1982
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Morisawa Photo-Typesetting Company
1986
screenprint (advertising poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1987
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1987
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Affichiste Ikko Tanaka
1988
screenprint (exhibition poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
NOMAD
Nouvelle Organisation Maїmé and Denise
1988
screenprint (advertising poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Isaac Mizrahi
ca. 1990
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Graphic Art Exhibition - Ikko Tanaka
1990
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1992
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1992
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
International Design Center: Nagoya
ca. 1995
offset-lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1996
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1997
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

from Idyll I

A Goatherd perswades the Shepherd Thyrsis to bewail Daphnis who dy'd for Love, and gives him a large Cup and Goat for a reward. The scene Sicily, about the River Himera.

I dare not, faith I dare not pipe at Noon,

Affraid of Pan, for when his Hunting's done,

And He lyes down to sleep by purling streams,

He's very touchy if we break his dreams:

But Thyrsis (for you know fair Daphnis pains,

And singst the best of all the tuneful Swains)

Let's go and sit beneath yon Myrtle boughs,

Where stand Priapus, and the Nymphs repose,

Where thy Hut's built and many an Acorn grows,

And there if thou wilt pipe as sweet a Lay

As when you strove with Crome and wan the day,

Ile give Thee my best Goat, a lovely white;

She suckles Two, yet fills Three Pails at night;

Besides a Cup with sweetest Wax o're lay'd,

A fine Two-handled Pot, and newly made:

Still of the Tool it smells, it neatly shines,

And round the brim a creeping Ivy twines

With Crocus mixt; where Kids do seem to brouze,

The Berryes crop, and wanton in the bough:

Within a Woman sits, a work divine,

Thro envious vails her dazling Beautys shine,

And all around neat Woers offer Love,

They strive, they quarrel, but they cannot move:

Now smiling here, now there she casts her Eyes,

And now to These, now Those her mind applyes:

Whilst They, their Eyes swoln big with watchful pain,

Still Love, still beg, but all, poor hearts, in vain.

Near These a Fisher on white Rocks is set,

He seems to gather up to cast his Net:

He stand as labouring, and his Limbs appear

All stretcht, and in his face mix hope and fear:

The Nerves in's Neck are swoln, look firm and strong,

All-tho He's old, and fit for one that's Young:
Next him ripe Grapes in blushing Clusters twine,

And a fair Boy sits by to keep the Vine:

On either side a Fox; one widely gapes,
He eyes the Vines and spoils the ripening Grapes:

The other minds the Skrip, resolv'd to seize

And rob the Fondling of his Bread and Cheese;

While He sets idly busy, neatly tyes

Soft tender twigs, and frames a Net for Flyes;
Pleas'd with his vain designes, a careless Boy,

And more than Grapes or Skrip he minds the Toy.

Round all a Creeping Woodbine doth aspire,

A curious sight, i'me sure you must admire:

'Twas Calydons, but when he crost the Seas

I bought it for a Goat, and Rammel Cheese:

It never toucht my Lips, unsoild, and new,

And this I freely will present to you,

If you will sing how in the shady Grove

Young Daphnis pin'd, and how he dy'd for Love,

I am in Earnest, I will love Thee long,

And surely mind the favour of thy song.

– Theocritus (early 3rd century BC), translated by Thomas Creech (1684)

Herbert Bayer

Herbert Bayer
Bourjois Parfumeur Paris
ca. 1928
offset-lithograph
(German advertisement for French cosmetics)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Rhodiafil
ca. 1930
offset-lithograph
(advertisement for German textile manufacturer)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Fortune
1939
gravure-print
(American magazine cover)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
PM
1939
offset-lithograph
(American magazine cover)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Vi-Penta
ca. 1940
offset-lithograph
(advertising postcard for vitamin pills)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Cohama California Swaggers
ca. 1942
offset-lithograph
(advertising proof)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
House & Garden
1945
offset-lithograph
(magazine cover)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Salute to Freedom
ca. 1945
offset-lithograph
(advertising proof for Bianchini Férier textiles)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Beauty Products Ltd.
ca. 1955
offset-print
(letterhead stationery)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Idea - International Advertising Art
1955
offset-lithograph
(cover of Japanese magazine)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Christmas Card
1962
offset-lithograph
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Aspen Institute Lecture Series
1964
offset-lithograph
(cover of booklet)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Northern Natural Gas Company
1964
offset-lithograph
(cover of annual report)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Malerei, Fotografie, Film - L. Moholy-Nagy
1966
offset-lithograph
(dust jacket for German publisher)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Great River Road
1966
offset-prints on adhesive paper
(U.S. postage stamps)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Aspen Institute Society of Fellows
1971
offset-lithograph
(booklet cover)
Cooper-Hewitt, Smithsonian Design Museum

from Pharsalia

    But soon behold! the bolder Youth returns,

While, half consum'd, the smould'ring Carcass burns,

Ere yet the cleansing Fire had melted down

The fleshy Muscles, from the firmer Bone,

He quench'd the Relicks in the briny Wave,

And hid 'em, hasty, in a narrow Grave:

Then with a Stone the sacred Dust he binds,

To guard it from the Breath of scatt'ring Winds:

And lest some heedless Mariner shou'd come,

And violate the Warrior's humble tomb;

Thus with a Line the Monument he keeps,

Beneath this Stone the once great Pompey sleeps.

Oh Fortune! can thy Malice swell so high?

Canst thou with Caesar's ev'ry Wish comply?

Must he, thy Pompey once, thus meanly lye?

But oh! forbear, mistaken Man, forbear!

Nor dare to fix the mighty Pompey there:

Where there are Seas, or Air, or Earth, or Skies,

Where'er Rome's Empire stretches, Pompey lies.

– Lucan (AD 39-65), translated by Nicholas Rowe (1718)

Herbert Bayer

Herbert Bayer
Bauhaus Ausstellung, Weimar
1923
gouache on paper
(design for postcard announcement)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Designs for German Inflationary Money 
1923
gelatin silver print of mock-ups
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer (designer)
Eine Milliarde Mark
banknote for one billion marks
1923
letterpress
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Dessau
1926
offset-lithograph
(cover of booklet for tourists)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Detmold
ca. 1930
offset-lithograph
(cover of booklet for tourists)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Katalog Wohnbedarf
1932
offset-lithograph
(cover of home-furnishings catalog)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Sporting Stepper
1937
offset-lithograph
(advertising proof for German clothier)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Montage of Ham and Warplanes
ca. 1942
offset-lithograph
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Electronics - a New Science for a New World
1942
offset-lithograph
(booklet cover for General Electric Corporation)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Fun Chair - Fun Table - Funiture Company
1951
offset-lithograph
(advertising mock-up)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Christmas Card
1954
offset-lithograph
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Art Directors Club of Chicago
ca. 1959
offset-lithograph
(cocktail ticket)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Packaging Review
1961
offset-lithograph
(cover of magazine)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Aspen Institute for Humanistic Studies
1961
offset-lithograph
(logo design)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Ex Libris - In Memory of David Mayer Aspen Jr.
1962
offset-lithograph
(bookplate)
Cooper-Hewitt, Smithsonian Design Museum

Herbert Bayer
Mont Tremblant - Canada
ca. 1963
offset-lithograph
(logo design)
Cooper-Hewitt, Smithsonian Design Museum

from Pharsalia

 

    See Fortune! where thy Pompey lyes! And, oh!

In Pity, one, last, little boon bestow.

He asks no Heaps of Frankincense to rise,

No Eastern Odours to perfume the Skies;

No Roman Necks his Patriot Coarse to bear,

No rev'rend Train of Statues to appear;

No Pageant Shows his Glories to record,

And tell the Triumphs of his conqu'ring Sword;

No Instruments in plaintive Notes to sound,

No Legions sad to march in solemn Round;

A Bier, no better than the Vulgar need,

A little Wood the kindling Flame to feed,

With some poor Hand to tend the homely Fire,

Is all, these wretched Relicks now require. 

– Lucan (AD 39-65), translated by Nicholas Rowe (1718)