CLOSE
Original image

25 Beautiful Vintage Theater Posters

Original image

The great thing about looking at vintage theater posters is that they not only show us the importance of theater in the time before television, but they also show us what captured the interests of people of the time. Of course, the wonderful artwork alone makes these worth a long look.

All images courtesy of the Library of Congress.

I don’t know what this 1876 stage show was about, but between the weeping mother and the woman lying in the snow, I’m sure it wasn’t a happy story.

On the other hand, despite the name, this 1879 ad for “Horrors” makes the show look like a blast.

If you like to rock out with your lute, then you no doubt would have loved this 1880 performance of The Celebrated Spanish Students with Abbey’s Humpty Dumpty Combination. That last band sounds like a terrible group of children’s party puppeteers, doesn’t it?

Ooh la la, just look at the cancan line in the ad for the famous Rentz Santley Novelty and Burlesque Co. I don’t know about you guys, but this is the kind of show I’d like to go back to 1890 to check out.

Now here’s an effective ad -- just look at all the drama packed into this one poster. “What does this mean?” I guess the only way to find the answer to that question was to go see “The Cotton King” at The London Adelphi Theatre in 1894.

If you can’t get enough Comedy Central these days, then you probably would have been at the front of the line to catch Selden’s funny farce “A Spring Chicken” back in 1896.

Personally, in 1886, I would have been much more excited to catch “La Dame Aux Camelias,” or The Lady of the Camellias, if only because I’m a sucker for the art nouveau used in this gorgeous poster.

Similarly, I would most likely have gone to see this show based on Percy Shelly’s poem “The Masque of Anarchy” in 1887 just for the fantastic artwork in the ad.

The best thing about this 1897 ad is that it focuses more on the fact the Prince and Princess of Wales and the Duke and Duchess of York all went to see the show than it does on the play itself.

With an ad this charming, it’s hard not to want “The Turtle” to actually be a 1898 story about a cigar-smoking, monocled turtle. It most likely wasn’t, but we can dream, can’t we?

This 1899 ad looks like it could just as easily have come from the side of a traveling funhouse, and that’s exactly why it makes “Hotel Topsy Turvey” look so fun.

Talk about suspenseful. You can be sure the 1899 production of "The Great Ruby" was filled with action if this poster is any indication.

This poster might not be in the best condition, but the artwork and scale are fantastic. Plus, this show is notable, as it was huge. There were 300 people on stage at one point and the production cost $40,000 when it was put on in 1900; that’s the equivalent of a million dollar show today.

No matter how we feel about minstrel shows today, there’s no denying that they were once incredibly popular. In fact, Primrose & Dockstader's Huge Minstrel Company certainly lived up to their name when they built a tent theater that could seat 3,000 people back in 1900.

You’ve no doubt heard tales of how much went into making the film version of "Ben Hur," so just imagine how big a stage show that featured the famous chariot race must have been when it was performed back in 1901.

Americans were fascinated with the Wild West around the turn of the last century, so it’s no wonder that stage shows like “An Arizona Cowboy” found a way to cash in on the trend.

At the same time, more and more people were turning to Spiritualism in the hopes of reconnecting with their long-lost loved ones. Houdini was one of the biggest challengers to the movement, but he still knew his escape act was what would get people through the door -- so in 1909, he did magic, illusions and a bit of fraud-busting all in one great show.

While Houdini is the most famous illusionist from the last century, Thurston was actually the most famous magician during their lifetimes. His act was so big that he even required eight train cars to transport all the pieces of his road show.

Fans of Boardwalk Empire probably recognize the name Hardeen, as the characters discuss his show quite a bit, but for most people, the name of Houdini’s less famous brother probably doesn’t ring a bell. In fact, Hardeen often introduced himself to people as “Houdini’s brother.” Of course, after Houdini’s death, those who wanted to see the master’s act had to settle for Hardeen, and as this 1936 ad points out, he did inherit all of his brother’s props.

During the Depression, the Works Progress Administration strived to help employ people in their respective fields, which not only meant hiring photographers to capture the lives of those affected and workers to improve public parks, but also hiring actors to entertain the public and artists to make posters promoting their shows. While the artist who made this 1936 poster remains unknown, the artwork is simply amazing.

Similarly, the modernist style that Harry Herzog used in this “Injunction Granted” ad from 1937 is striking in its wonderful simplicity.

This 1937 “A Hero Is Born” poster looks like it belongs in a modernist version of Aladdin, except that the hero's clothes wouldn’t quite fit in.

The black inkwork on goldenrod and the clean style make this wonderful “The Cat and the Canary” poster from 1938 look like it would fit in just perfectly with a classic Monopoly set.

The use of simple, flowing lines and a soft color palette makes this 1939 poster for “Androcles and the Lion” incredibly powerful. Heck, I’d go see the show today if it used this artwork.

This “A Christmas Carol” might just be the least Christmasy artwork ever made to promote the story. Not that the artwork is bad by any means, it’s just not at all what most people think of when they remember the story line. One has to wonder if the 1940 production itself was this modernist as well.

Which of the shows would you go see? Was your opinion based on the artwork? And what is your favorite style of the many used here?

Original image
Lebrel
arrow
Design
Watch an Artist Build a Secret Studio Beneath an Overpass
Original image
Lebrel

Artists can be very particular about the spaces where they choose to do their work. Furniture designer Fernando Abellanas’s desk may not boast the quietest or most convenient location on Earth, but it definitely wins points for seclusion. According to Co.Design, the artist covertly constructed his studio beneath a bridge in Valencia, Spain.

To make his vision a reality, Abellanas had to build a metal and plywood apparatus and attach it to the top of an underpass. After climbing inside, he uses a crank to wheel the box to the top of the opposite wall. There, the contents of his studio, including his desk, chair, and wall art, are waiting for him.

The art nook was installed without permission from the city, so Abellanas admits that it’s only a matter of time before the authorities dismantle it or it's raided by someone else. While this space may not be permanent, he plans to build others like it around the city in secret. You can get a look at his construction process in the video below.

[h/t Co.Design]

Original image
Wikimedia Commons // Public Domain
arrow
Lists
15 Facts About Franz Marc's Yellow Cow
Original image
Wikimedia Commons // Public Domain

To gaze upon German Expressionist Franz Marc's Yellow Cow is to take in a surreal and spirited painting, alive with color. But within its bold brush strokes and envelope-pushing aesthetic lies the unexpected story of a complicated love between two artists, and the path that led them together.

1. YELLOW COW IS WILDLY DIFFERENT FROM FRANZ MARC'S EARLY WORKS.

Philosophy student-turned-painter Franz Marc attended the Munich Academy of Art during the turn of the 20th century. There, he studied natural realism, striving to capture his subjects in portraits true to dimension, gesture, and color. In 1902, he created Portrait of the Artist's Mother, which immortalized homemaker and devout Calvinist Sophie Marc. Sitting in profile, she leans over a book, reading by the light of an unseen lantern. Though Marc would become known for his vibrant color choices, here he favored darker shades that gave the painting a flat appearance, and a somber mood.

2. YELLOW COW'S CREATION WAS INSPIRED BY GERMAN NUDISTS.

In the early 20th century, Germany was in the midst of a back-to-nature movement, which saw several new artist collectives and nudist colonies pop up around the country. This celebration of the glory of the land and its natural inhabitants spoke to Marc, who later explained, "People with their lack of piety, especially men, never touched my true feelings. But animals with their virginal sense of life awakened all that was good in me."

3. HE VIEWED ANIMALS AS GOD-LIKE CREATURES.

Like the naturalists, Marc came to value the rural wonders of the country. He abandoned the bustle and urban intellectualism of Munich, and sought the spirituality and peace he believed could be found in living simply, as animals do. He began to think of them as having a "god-like presence and power." In a 1908 letter, Marc attempted to detail how this belief was informing his work, writing, "I am trying to intensify my ability to sense the organic rhythm that beats in all things, to develop a pantheistic sympathy for the trembling flow of blood in nature, in trees, in animals, in air—I am trying to make a picture of it … with colors which make a mockery of the old kind of studio picture."

4. ANIMALS BECAME A SIGNATURE MOTIF FOR MARC.

This is an image of Dog Lying in the Snow by Franz Marc
Wikimedia Commons // Public Domain

By 1907, Marc was focusing his work on capturing the spiritualism found in animals. Other notable works in the vein include The Fox, Dog Lying In The Snow, The Little Blue Horses, The Red Bull, Little Monkey, Monkey Frieze, Wild Boars in the Water, and The Tiger.

5. YELLOW COW IS A VERY LARGE PAINTING.

Measuring 55 3/8 by 74 1/2 inches, it's nearly 5 by 6 feet wide.

6. MARC DEVELOPED HIS OWN COLOR SYMBOLISM.

This is an image of Self-portrait by August Macke.
Wikimedia Commons // Public Domain

Colors would recur in Marc's work and speak to different emotions or themes. In 1910, he explained his use of color in a letter to friend and colleague, artist August Macke. Marc wrote, "Blue is the male principle, astringent and spiritual. Yellow is the female principle, gentle, gay, and spiritual. Red is matter, brutal and heavy and always the color to be opposed and overcome by the other two."

7. YELLOW COW MIGHT BE AN UNCONVENTIONAL WEDDING PORTRAIT.

Exploring the painter's works and statements on his use of color, art historian Mark Rosenthal declared that the frolicking cow is actually a veiled depiction of Marc's second wife Maria Franck, while the distant blue mountains are meant to represent the painter himself. Painted the same year the couple were married, it times out to potentially be representative of their nuptials. The blending of the blue into the cow's spots suggests the joining of masculine and feminine.

8. FRANCK WAS A RECURRING MUSE FOR HER LOVER.

In 1906, before they were married, Marc had sketched a more traditional portrait of his wife-to-be, titled simply Mädchenkopf, which translates—rather unsentimentally—to "girl's head." That same year, he captured Franck in the abstract painting Two Women on the Hillside. Later, he created Maria Franck in a White Cap.

9. MARC AND FRANCK HAD A COMPLICATED ROMANCE.

An artist in her own right, Franck met Marc at a costume ball in Schwabing, Germany. The pair hit it off, and also befriended illustrator Marie Schnür, resulting in a shared Bavarian summer of creativity (and rumored three-way trysts). Schnür was the other woman who modeled for Two Women on the Hillside, as well as the other woman captured in a NSFW photo from their formative season in the sun. Marc ended up marrying both women, starting with Schnür.

Theirs was a marriage of convenience, meant to aid her in securing custody of her bastard baby boy, whom she had with another man. Details on this marriage are scant beyond that it was brief, lasting from 1907 to 1908. However, because Schnür accused Marc of infidelity, he was barred from remarrying until a special dispensation was granted, which took years. So while Marc and Franck had tried to wed in 1911, their official "I do" didn't come until June 3, 1913, in Munich.

10. TWO WOMEN ON THE HILLSIDE WAS A SIGN OF MARC'S TRANSITION TO HIS SIGNATURE STYLE.

This is an image of Two Women on the Hillside by Franz Marc.
Wikimedia Commons // Public Domain

Looking back on 1906's Two Women on the Hillside, it seems to foretell Yellow Cow. Depicting the two women who, in their own ways, would inspire Yellow Cow, Marc moved away from the German realist art he studied in college. Instead, looser brush strokes speak to Post-Impressionist interests, and the willful abstractness of its subjects predicts the evolving German expressionism movement of which he would become a part. It also shows repetition in the lines—of the woman's hip to the hill beyond—that would be revisited in Yellow Cow, whose haunches mirror the rise and fall of the mountains behind her.

11. YELLOW COW WAS A PART OF THE DER BLAUE REITER ART MOVEMENT.

Named for a Wassily Kandinsky painting, this movement boasted members like Kandinsky, Marc, Macke, Alexej von Jawlensky, Marianne von Werefkin, and Gabriele Münter. Der Blaue Reiter (translating to The Blue Rider) had no hard manifesto, but its members shared a common urge to express spiritualism through their work, and often specifically through color. Turned away from exhibitions, they toured with their own, and published an almanac that celebrated contemporary, primitive, and folk art, along with children's paintings.

12. DER BLAUE REITER WAS DEVASTATED BY WORLD WAR I.

The Blue Rider movement only lasted from 1911 to 1914, in large part because the tensions growing between nations chased Russian artists back to their homeland, while Germans, including Marc and Macke, were conscripted into military service. As these artistic colleagues scattered, their movement faded. But it proved fundamental to the evolving Expressionism, and its works would remain.

13. MARC DID NOT LIVE TO SEE HIS LEGACY SECURED.

Marc's animal paintings would go on to awe viewers for decades to come. They'd become coveted by collectors and museums. And a plaque would be placed on the Munich home where he was born, remembering him as a founder of Der Blaue Reiter. But Marc was killed on March 4, 1916, during the Battle of Verdun. He was 36 years old.

14. FRANCK SAW TO IT THAT HIS WORKS WOULD BE PRESERVED.

This is an image of art historian, Klaus Lankheit.
Wikimedia Commons // Public Domain

Marc's widow gave records of his life and writing to German art historian Klaus Lankheit. She called on German writer/gallery owner Herwarth Walden to exhibit her late husband's works in a posthumous show in October of 1916. While continuing to create and exhibit her own work, she collected Marc's letters from the war's front, and in 1920 had them published in a two-volume book called Briefe, Aufzeichnungen und Aphorismen (translating to Letters, Records, and Aphorisms). According to the Solomon R. Guggenheim Museum, where a copy of each is preserved, "The first volume contains letters written from September 1914 to March 1916 as well as records alongside color plates, and the second presents the artist’s sketchbook." Franck preserved Marc's legacy in whatever way she could, and in doing so, gave him to the world.

15. YELLOW COW IS REMEMBERED AS A JOYFUL MASTERPIECE.

While it might not sound complimentary to compare your wife to a cow, the consensus on Yellow Cow is that it signifies the happiness and bliss Marc's bond with Franck brought to his life. The bovine's bright colors are jubilant and yet the colors of her body jibe with those in her environment. She belongs here. Her pose is enthusiastic and bold—almost dance-like. If you look closely, you can even see a small smile play across her lips. It's an unusual love letter, but one that's outlived its lovers, and now hangs on the walls of the Guggenheim in New York City, to inspire many more.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios