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HAPPY HOUR
ASHBROOK VELVET PAINTING
DEPICTS A BAR CROWD OF INIBRIATED SORTS
LIKE AN "ANDY CAPP" STYLE CHARACTER
GREAT ACCENT / SHOW STOPPER
FOR YOUR GAMEROOM, PUB OR BAR
LARGE / OVERSIZED
LIGHTED BACKDROP
MEASURES ABOUT 26" X 50"
THE FRAME ADDS 5" TO BE 31" X 55"
ASHBROOK STUDIO CREATIONS
GARDEN GROVE CALIFORNIA
c. 1974
THIS ITEM MAY BE REQUIRED TO SHIP VIA GREYHOUND GPX
ASHBROOK VELVET PAINTING
DEPICTS A BAR CROWD OF INIBRIATED SORTS
LIKE AN "ANDY CAPP" STYLE CHARACTER
GREAT ACCENT / SHOW STOPPER
FOR YOUR GAMEROOM, PUB OR BAR
LARGE / OVERSIZED
LIGHTED BACKDROP
MEASURES ABOUT 26" X 50"
THE FRAME ADDS 5" TO BE 31" X 55"
ASHBROOK STUDIO CREATIONS
GARDEN GROVE CALIFORNIA
c. 1974
THIS ITEM MAY BE REQUIRED TO SHIP VIA GREYHOUND GPX
PLEASE EMAIL FOR DETAILS
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Mid-century modern is a term that describes mid–20th century developments in interior, product, and graphic design, architecture, and urban development from roughly 1933 to 1965. The term, employed as a style descriptor as early as the mid-1950s, was reaffirmed in 1983 by Cara Greenberg in the title of her book, Mid-Century Modern: Furniture of the 1950s (Random House), celebrating the style that is now recognized by scholars and museums worldwide as a significant design movement.
Architecture
Detail of Copan, a Niemeyer building in Sao Paulo, Oscar Niemeyer
The Mid-Century modern movement in the U.S. was an American reflection of the International and Bauhaus movements, including the works of Gropius, Florence Knoll, Le Corbusier and Ludwig Mies van der Rohe. Though the American component was slightly more organic in form and less formal than the International Style, it is more firmly related to it than any other. Brazilian and Scandinavian architects were very influential at this time, with a style characterized by clean simplicity and integration with nature. Like many of Wright's designs, Mid-Century architecture was frequently employed in residential structures with the goal of bringing modernism into America's post-war suburbs. This style emphasized creating structures with ample windows and open floor plans, with the intention of opening up interior spaces and bringing the outdoors in. Many Mid-century houses utilized then-groundbreaking post and beam architectural design that eliminated bulky support walls in favor of walls seemingly made of glass. Function was as important as form in Mid-Century designs, with an emphasis placed specifically on targeting the needs of the average American family.
In Europe the influence of Le Corbusier and the CIAM resulted in an architectural orthodoxy manifest across most parts of post-war Europe that was ultimately challenged by the radical agendas of the architectural wings of the avant-garde Situationist International, COBRA, as well as Archigram in London. A critical but sympathetic reappraisal of the internationalist oeuvre, inspired by Scandinavian Moderns such as Alvar Aalto, Sigurd Lewerentz and Arne Jacobsen, and the late work of Le Corbusier himself, was reinterpreted by groups such as Team X, including structuralist architects such as Aldo van Eyck, Ralph Erskine, Denys Lasdun, Jorn Utzon and the movement known in the United Kingdom as New Brutalism.
Pioneering builder and real estate developer Joseph Eichler was instrumental in bringing Mid-Century Modern architecture ("Eichler Homes") to subdivisions in the Los Angeles area and the San Francisco Bay region of California, and select housing developments on the east coast. George Fred Keck, his brother Willam Keck, Henry P. Glass, Ludwig Mies van der Rohe, and Edward Humrich created Mid-Century Modern residences in the Chicago area. Mies van der Rohe's Farnsworth House is extremely difficult to heat or cool, while Keck and Keck were pioneers in the incorporation of passive solar features in their houses to compensate for their large glass windows.
Industrial design
Scandinavian design was very influential at this time, with a style characterized by simplicity, democratic design and natural shapes. Glassware (Iittala – Finland), ceramics (Arabia – Finland), tableware (Georg Jensen – Denmark), lighting (Poul Henningsen – Denmark), and furniture (Danish modern) were some of the genres for the products created. In America, east of the Mississippi, the American-born Russell Wright, designing for Steubenville Pottery, and Hungarian-born Eva Zeisel designing for Red Wing Pottery and later Hall China created free-flowing ceramic designs that were much admired and heralded in the trend of smooth, flowing contours in dinnerware. On the West Coast of America the industrial designer and potter Edith Heath (1911–2005) founded Heath Ceramics in 1948. The company was one of the originally numerous California pottery manufacturers that had their heyday in post-war USA, and produced Mid-Century modern ceramic dish-ware. Edith Heath's "Coupe" line remains in demand and has been in constant production since 1948, with only periodic changes to the texture and color of the glazes.
Graphic design
Printed ephemera documenting the mid-century transformations in urban development, architecture and design include Linen Type postcards from the 1930s to the early 1950s. They consisted primarily of national view-cards of North American cities, towns, buildings, monuments and civil and military infrastructures. Mid-century Linen Type postcards came about through innovations pioneered through the use of offset lithography. The cards were produced on paper with a high rag content, which gave the postcard a fabric type look and feel. At the time this was a less expensive process. Along with advances in printing technique, Linen Type cards allowed for very vibrant ink colors. The encyclopedic geographic iconography of mid-century Linen Type images suggests popular middle class attitudes about nature, wilderness, technology, mobility and the city during the mid-20th century.
Curt Teich in Chicago was the most prominent and largest printer and publisher of Linen Type postcards pioneering lithography with his "Art Colortone" process. Other large publishers include Stanley Piltz in San Francisco, who established the "Pictorial Wonderland Art Tone Series", Western Publishing and Novelty Company in Los Angeles and the Tichnor Brothers in Boston. The printing of mid-century Linen Type postcards began to give way in the late 1950s to Kodachrome and Ektachrome type glossy color prints.
----------------------
Kitsch (/ˈkɪtʃ/; loanword from German) is a low-brow style of mass-produced art or design using popular or cultural icons. Kitsch generally includes unsubstantial or gaudy works or decoration, or works that are calculated to have popular appeal.
The concept of kitsch is applied to artwork that was a response to the 19th-century art with aesthetics that convey exaggerated sentimentality and melodrama. Hence, kitsch art is closely associated with sentimental art. Kitsch is also related to the concept of camp, because of its humorous, ironic nature.
Kitsch is usually used to reference decoration; for example "the living room was decorated in cheap 1950s style monster movie kitsch."
Origin and background
As a descriptive term, kitsch originated in the art markets of Munich in the 1860s and the 1870s, describing cheap, popular, and marketable pictures and sketches. In Das Buch vom Kitsch (The Book of Kitsch), Hans Reimann defines it as a professional expression “born in a painter's studio”.
Characteristics
Hermann Broch argues that the essence of kitsch is imitation: kitsch mimics its immediate predecessor with no regard to ethics—it aims to copy the beautiful, not the good. According to Walter Benjamin, kitsch is, unlike art, a utilitarian object lacking all critical distance between object and observer; it "offers instantaneous emotional gratification without intellectual effort, without the requirement of distance, without sublimation".
Study and background
The study of kitsch was done almost exclusively in German until the 1970s, with Walter Benjamin being an important scholar in the field.
The Kitsch Movement
The Kitsch Movement is an international movement of classical painters, founded in 1998 upon a philosophy proposed by Odd Nerdrum and later clarified in his book On Kitsch in cooperation with Jan-Ove Tuv and others, incorporating the techniques of the Old Masters with narrative, romanticism, and emotionally charged imagery.
----------------
A Tchotchke (CHOCH-ka) is a small bauble or miscellaneous item. The word has long been used by Jewish-Americans and in the regional speech of New York City and elsewhere. Tchotchkes are often given at Chanukkah as part of a game.
The word may also refer to free promotional items dispensed at trade shows, conventions, and similar large events. They can also be sold as cheap souvenirs in tourist areas, which are sometimes called "tchotchke shops".
Spelling
A wide variety of spellings exist for the English usage of the term, e.g. tshotshke, tshatshke, tchachke, tchotchka, tchatchka, chachke, tsotchke, chotski, or chochke; the standard Yiddish transliteration is tsatske or tshatshke. In Israeli Hebrew it is often spelled צאצקע, [ˈtsats.ke], with a tsade instead of teth-shin, as in Yiddish.
Alternate meanings and context
Depending on context, the term has a connotation of worthlessness or disposability as well as tackiness.
A common confusion is between the terms tchotchke and tsatske or rather tsatskele, with the diminutive ending -le. Both terms have the same Slavic root, but the tch- version stems from Russian, while the ts- originates in Polish. Tchotchke usually references trinkets, while tsatskele is more likely to mean a young girl or woman who uses her charms in order to reach her goals. Being Yiddish, the meaning can change by the use of gestures and a change in tone, so that tsatskele can become the favorite child.
Leo Rosten, author of The Joys of Yiddish, combines the two main meanings and gives an alternate sense of tchotchke as meaning a desirable young girl, a "pretty young thing". Less flatteringly, the term could be construed as a more dismissive synonym for "bimbo", or "slut".
Etymology
The word "tchotchke" derives from a Slavic word for "a trinket" (Ukrainian: цяцька, tsiats'ka, [ˈtsjɑts.kɑ]; Polish: Sg. cacko /Pl.cacka, [ˈtsats.ka]; Slovak: čačka, [ˈtʃatʃ.ka] CHACH-ka, Russian: цацки, tsatski, [ˈt͡sat͡s.ki])—adapted to Yiddish Sg. טשאַטשקע, tshatshke, "trinket".
Architecture
Detail of Copan, a Niemeyer building in Sao Paulo, Oscar Niemeyer
The Mid-Century modern movement in the U.S. was an American reflection of the International and Bauhaus movements, including the works of Gropius, Florence Knoll, Le Corbusier and Ludwig Mies van der Rohe. Though the American component was slightly more organic in form and less formal than the International Style, it is more firmly related to it than any other. Brazilian and Scandinavian architects were very influential at this time, with a style characterized by clean simplicity and integration with nature. Like many of Wright's designs, Mid-Century architecture was frequently employed in residential structures with the goal of bringing modernism into America's post-war suburbs. This style emphasized creating structures with ample windows and open floor plans, with the intention of opening up interior spaces and bringing the outdoors in. Many Mid-century houses utilized then-groundbreaking post and beam architectural design that eliminated bulky support walls in favor of walls seemingly made of glass. Function was as important as form in Mid-Century designs, with an emphasis placed specifically on targeting the needs of the average American family.
In Europe the influence of Le Corbusier and the CIAM resulted in an architectural orthodoxy manifest across most parts of post-war Europe that was ultimately challenged by the radical agendas of the architectural wings of the avant-garde Situationist International, COBRA, as well as Archigram in London. A critical but sympathetic reappraisal of the internationalist oeuvre, inspired by Scandinavian Moderns such as Alvar Aalto, Sigurd Lewerentz and Arne Jacobsen, and the late work of Le Corbusier himself, was reinterpreted by groups such as Team X, including structuralist architects such as Aldo van Eyck, Ralph Erskine, Denys Lasdun, Jorn Utzon and the movement known in the United Kingdom as New Brutalism.
Pioneering builder and real estate developer Joseph Eichler was instrumental in bringing Mid-Century Modern architecture ("Eichler Homes") to subdivisions in the Los Angeles area and the San Francisco Bay region of California, and select housing developments on the east coast. George Fred Keck, his brother Willam Keck, Henry P. Glass, Ludwig Mies van der Rohe, and Edward Humrich created Mid-Century Modern residences in the Chicago area. Mies van der Rohe's Farnsworth House is extremely difficult to heat or cool, while Keck and Keck were pioneers in the incorporation of passive solar features in their houses to compensate for their large glass windows.
Industrial design
Scandinavian design was very influential at this time, with a style characterized by simplicity, democratic design and natural shapes. Glassware (Iittala – Finland), ceramics (Arabia – Finland), tableware (Georg Jensen – Denmark), lighting (Poul Henningsen – Denmark), and furniture (Danish modern) were some of the genres for the products created. In America, east of the Mississippi, the American-born Russell Wright, designing for Steubenville Pottery, and Hungarian-born Eva Zeisel designing for Red Wing Pottery and later Hall China created free-flowing ceramic designs that were much admired and heralded in the trend of smooth, flowing contours in dinnerware. On the West Coast of America the industrial designer and potter Edith Heath (1911–2005) founded Heath Ceramics in 1948. The company was one of the originally numerous California pottery manufacturers that had their heyday in post-war USA, and produced Mid-Century modern ceramic dish-ware. Edith Heath's "Coupe" line remains in demand and has been in constant production since 1948, with only periodic changes to the texture and color of the glazes.
Graphic design
Printed ephemera documenting the mid-century transformations in urban development, architecture and design include Linen Type postcards from the 1930s to the early 1950s. They consisted primarily of national view-cards of North American cities, towns, buildings, monuments and civil and military infrastructures. Mid-century Linen Type postcards came about through innovations pioneered through the use of offset lithography. The cards were produced on paper with a high rag content, which gave the postcard a fabric type look and feel. At the time this was a less expensive process. Along with advances in printing technique, Linen Type cards allowed for very vibrant ink colors. The encyclopedic geographic iconography of mid-century Linen Type images suggests popular middle class attitudes about nature, wilderness, technology, mobility and the city during the mid-20th century.
Curt Teich in Chicago was the most prominent and largest printer and publisher of Linen Type postcards pioneering lithography with his "Art Colortone" process. Other large publishers include Stanley Piltz in San Francisco, who established the "Pictorial Wonderland Art Tone Series", Western Publishing and Novelty Company in Los Angeles and the Tichnor Brothers in Boston. The printing of mid-century Linen Type postcards began to give way in the late 1950s to Kodachrome and Ektachrome type glossy color prints.
----------------------
Kitsch (/ˈkɪtʃ/; loanword from German) is a low-brow style of mass-produced art or design using popular or cultural icons. Kitsch generally includes unsubstantial or gaudy works or decoration, or works that are calculated to have popular appeal.
The concept of kitsch is applied to artwork that was a response to the 19th-century art with aesthetics that convey exaggerated sentimentality and melodrama. Hence, kitsch art is closely associated with sentimental art. Kitsch is also related to the concept of camp, because of its humorous, ironic nature.
Kitsch is usually used to reference decoration; for example "the living room was decorated in cheap 1950s style monster movie kitsch."
Origin and background
As a descriptive term, kitsch originated in the art markets of Munich in the 1860s and the 1870s, describing cheap, popular, and marketable pictures and sketches. In Das Buch vom Kitsch (The Book of Kitsch), Hans Reimann defines it as a professional expression “born in a painter's studio”.
Characteristics
Hermann Broch argues that the essence of kitsch is imitation: kitsch mimics its immediate predecessor with no regard to ethics—it aims to copy the beautiful, not the good. According to Walter Benjamin, kitsch is, unlike art, a utilitarian object lacking all critical distance between object and observer; it "offers instantaneous emotional gratification without intellectual effort, without the requirement of distance, without sublimation".
Study and background
The study of kitsch was done almost exclusively in German until the 1970s, with Walter Benjamin being an important scholar in the field.
The Kitsch Movement
The Kitsch Movement is an international movement of classical painters, founded in 1998 upon a philosophy proposed by Odd Nerdrum and later clarified in his book On Kitsch in cooperation with Jan-Ove Tuv and others, incorporating the techniques of the Old Masters with narrative, romanticism, and emotionally charged imagery.
----------------
A Tchotchke (CHOCH-ka) is a small bauble or miscellaneous item. The word has long been used by Jewish-Americans and in the regional speech of New York City and elsewhere. Tchotchkes are often given at Chanukkah as part of a game.
The word may also refer to free promotional items dispensed at trade shows, conventions, and similar large events. They can also be sold as cheap souvenirs in tourist areas, which are sometimes called "tchotchke shops".
Spelling
A wide variety of spellings exist for the English usage of the term, e.g. tshotshke, tshatshke, tchachke, tchotchka, tchatchka, chachke, tsotchke, chotski, or chochke; the standard Yiddish transliteration is tsatske or tshatshke. In Israeli Hebrew it is often spelled צאצקע, [ˈtsats.ke], with a tsade instead of teth-shin, as in Yiddish.
Alternate meanings and context
Depending on context, the term has a connotation of worthlessness or disposability as well as tackiness.
A common confusion is between the terms tchotchke and tsatske or rather tsatskele, with the diminutive ending -le. Both terms have the same Slavic root, but the tch- version stems from Russian, while the ts- originates in Polish. Tchotchke usually references trinkets, while tsatskele is more likely to mean a young girl or woman who uses her charms in order to reach her goals. Being Yiddish, the meaning can change by the use of gestures and a change in tone, so that tsatskele can become the favorite child.
Leo Rosten, author of The Joys of Yiddish, combines the two main meanings and gives an alternate sense of tchotchke as meaning a desirable young girl, a "pretty young thing". Less flatteringly, the term could be construed as a more dismissive synonym for "bimbo", or "slut".
Etymology
The word "tchotchke" derives from a Slavic word for "a trinket" (Ukrainian: цяцька, tsiats'ka, [ˈtsjɑts.kɑ]; Polish: Sg. cacko /Pl.cacka, [ˈtsats.ka]; Slovak: čačka, [ˈtʃatʃ.ka] CHACH-ka, Russian: цацки, tsatski, [ˈt͡sat͡s.ki])—adapted to Yiddish Sg. טשאַטשקע, tshatshke, "trinket".
(THIS PICTURE FOR DISPLAY ONLY)
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