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Jean DupasPoster project for the "XVe Salon des Artistes Décorateurs"1924
1924
$148,528.11
£111,101.25
€124,000
CA$204,664.60
A$224,976.27
CHF 118,111.48
MX$2,675,129.47
NOK 1,516,819.67
SEK 1,381,658.80
DKK 945,008.59
About the Item
Poster project for the "XVe Salon des Artistes Décorateurs"
by Jean DUPAS (1882-1964)
Original drawing
Pencil, with highlights of gouache
Signed "Jean Dupas"
Dated "1924"
Dedicated on the lower right side : "A mon ami C. Hairon - Bien affectueusement - Jean Dupas, 1924", making a direct allusion to the sculptor Charles Hairon (1880-1962).
Preserved in very good condition
Modern framework
France
1924
Measurements of the drawing : 47 x 31 cm (18 ½ x 12 ¼ in.)
Measurements of the frame : 64 x 48 cm (25 ¼ x 18 ¾ in.)
Made for the poster of the 15th artists decorators fair, held at the Grand-Palais in Paris, from May 8 to July 8 1924.
The Salon des artistes décorateurs (SAD) was an event created in 1904, contemporary with the opening of the Museum of Decorative Arts in Paris. It was imagined by the Society of the Artists Decorators founded in 1901. It peaked at the time of the International Exhibition of Modern Decorative and Industrial Arts when the art deco style took hold.
Biography :
Jean Théodore Dupas, known as Jean Dupas (1882-1964), was a French painter, poster artist, and decorator, representative of the Art Deco movement. After his studies at the École des Beaux-Arts in Bordeaux in the studio of Paul Quinsac and the decorators Artus and Jean-Gustave Lauriol, he then entered the École Nationale Supérieure des Beaux-Arts in Paris in the studio of Gabriel Ferrier. He won the Prix de Rome in 1910 for his work "Eros Victorious over the God Pan". His highly personal style has been described as academic or neoclassical. He went to the Villa Medici in Rome, under the direction of Carolus-Duran, then Albert Bernard, where he reunited with the sculptor Alfred Janniot and several friends, including Jean Despujols and Robert Poughéon. He also invited his friend Roger Bissière to join him there. Mobilized in 1914 during the First World War, he was released in 1919, the year in which he returned to Rome for a final year, during which he presented about ten works in Bordeaux for the benefit of the wounded of the Great War.
Appointed curator of the Marmottan Museum in Paris in 1940, he became a member of the Academy of Fine Arts in 1941. Appointed professor at the École Nationale Supérieure des Beaux-Arts in Paris, his students included Jean-Pierre Alaux, Jean Monneret, Jean Joyet, Gabriel Deschamps, Roger Forissier, Roger Festernaz, and Geoffroy Dauvergne. He left his post in 1951 to undergo surgery and was replaced by Edmond Heuzé. He ended his career as director of the Marmottan Museum.
Like many artists of the time, he worked in a wide variety of fields. In 1923 and 1924, he worked on commissions for the Sèvres National Porcelain Manufactory, as well as on designs for the Gobelins Manufactory. He drew for major fashion magazines such as "Vogue" and "Harper's Bazaar". In 1925, he sent an oil painting on canvas, "The Parakeets", to the Exposition of Decorative Arts, where it was highly acclaimed. In 1927, he designed the Max fur catalog for the Draeger printing house. After 1919, following in the footsteps of Maurice Denis and George Desvallières, he was a member of the Sacred Art Workshops and participated in the revival of fresco painting. In this capacity, he worked on the decoration of the Church of the Holy Spirit in Paris, collaborating, among others, with the Lyon-based painter Louis Bouquet, organizer of the Salon de l'Afrique at the Palais des Colonies (Paris). He also created posters for the Dufayel department stores. At that time, he was living at 19 Boulevard de Port-Royal in Paris.
However, he retained a predilection for monumental works: "The bigger my work, the happier I am." He remained very attached to his native city of Bordeaux, for which he notably created a large composition, "The Vine and the Wine", intended for the 1925 Exhibition of Decorative Arts. He also executed numerous public and private commissions
He collaborated on the decoration of several ocean liners, such as the "Île-de-France" and the "Liberté", with Alfred Janniot and Jacques-Émile Ruhlmann. One of his paintings hung in the heroine's bedroom in Ernst Lubitsch's American film, "High Society" (1932). He worked with the master glassmaker Jacques Charles Champigneulle, who exhibited in his studio on Boulevard du Montparnasse the preliminary drawings for the decoration of the grand salon of the "Normandie" liner, completed in 1935. One sheet of these drawings is held at the National Maritime Museum in Paris. For the decoration of this grand salon on the "Normandie", he painted four hundred square meters of glass on reverse-painted mirror. P
art of the ensemble, "The Abduction of Europa", is held at Escal'Atlantic, in the submarine base of Saint-Nazaire, where a lacquer panel was executed by Jean Dunand based on Dupas's designs.
In 1936, he participated in the construction of the Bordeaux Bourse du Travail (Labor Exchange), creating two frescoes. That same year, he completed the decoration of a mural panel for the Silver Room in the Royal Palace of Bucharest. In 1938, he collaborated with Yves Brayer, Jean Dunand, Paul Landowski, and photographers Marc Vaux and John-Adams Davis on the design of the French Pavilion for the 1939 New York World's Fair, whose architects were Roger-Henri Expert and Pierre Patout, and his collaborators Michel Dufet and Claude Ferret. He remained in New York, where he enjoyed great success.
Having become famous, he was commissioned to create posters for London transport companies. He produced six posters for the London Underground.
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