I'm a painter myself and have tried to recreate some of my favorite JC Leyendecker illustrations. Although portr...

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By Roger T. Reed By 1910, J.C. had landed two advertising accounts that would set the shape of his career even more than magazine covers: Kuppenheimer Clothes and Arrow Collar. Couture was important to J.C., and he had been producing a stream of fashion advertising since 1898. Kuppenheimer and Arrow, however, were top brands with big budgets, and they commissioned hundreds of advertising paintings from him. He began the Kuppenheimer campaign with a parade of men in suits... ... but then began to incorporate the nice suits into plausible scenes of carefree young men, emphasizing collegiate sports. By evoking a youthful, virile atmosphere, J.C. built the foundation for today's advertising - the selling of lifestyle. For Arrow, he forged a different identity, focusing not on the collars, but on the faces they framed. It was these mostly young, clean-shaven, preppy and patrician men that sold collars and inspired thousands of romantic inquiries from women that the Arrow Collar company suddenly found themselves fielding. The Depression finally ended these campaigns... ... but not before Leyendecker had produced his most stunning pictures: a series for Arrow with black backgrounds that are among the most elegant and seductive graphic designs in history. The most important Arrow man was Charles Beach, who was tall, handsome and as socially confident as J.C. was shy. Beach posed for dozens of paintings. J.C. also needed a companion who could be his agent, publicist and manager and even his public face. There is every indication that this relationship, which lasted from 1903 to the end of his life, freed him up to do the huge amount of work he accomplished. * Concluded tomorrow. * The text of today's post is excerpted from the brochure of the November '97 - May '98 J.C. Leyendecker Exhibit at the Norman Rockwell Museum and is © Roger T. Reed

Leyendecker presumably in 1909 - he appears to be working on a sketch for the cover of The Saturday Evening Post dated May 15 1909 ( see below ) Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post. Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication. For full biographical notes and for earlier works by Leyendecker, see part 1 also. This is part 2 of a 10-part series on the works of J. C. Leyendecker: 1909 "Easter" The Saturday Evening Post April 10 1909 1909 Arrow Collars advertisement 1909 Collier's magazine October 16 1909 1909 Couple on a Raft 1909 Flying in Style 1909 ( title unknown ) illustration 1909 The Literary Digest September 11 1909 1909 The Saturday Evening Post May 15 1909 artwork 1909 The Saturday Evening Post May 15 1909 1909 "Christmas" The Saturday Evening Post December 4 1909 1909 "Christmas" The Saturday Evening Post December 4 1909 1909 The Saturday Evening Post March 6 1909 1909 The Tackle 1909 The Watchers of the Plains 1910 "Thanksgiving Couple" oil on canvas 76.2 x 53.3 cm The Woman's Magazine November 1910 1910 "Theodore Roosevelt" The Circle magazine June 1910 1910 Arrow Collars and Cluett Shirts artwork 1910 Arrow Collars and Cluett Shirts advertisement 1910 Lucky Bag Girl 1910 Lucky Bag Girl 1910 Popular Magazine May 1910 1910 The Saturday Evening Post August 6 1910 artwork 1910 The Saturday Evening Post August 6 1910 1910 "Valentines" The Saturday Evening Post February 12 1910 1910 VIM magazine November 1910 1910 Women's magazine illustration 1911 "1912 Votes for Women" The Saturday Evening Post December 30 1911 1911 "Scouts Signalling" The Saturday Evening Post September 2 1911 artwork 1911 Cluett Dress shirts 1911 The Saturday Evening Post April 1 1911 1911 The Saturday Evening Post November 18 1911 1911 The Saturday Evening Post artwork 1911 A series of illustrations for Kuppenheimer Clothing. It's possible that some of these were by Joseph's brother Frank Leyendecker, I don't know: 1912 The Saturday Evening Post December 2 1912 1912 "Easter" The Saturday Evening Post April 6 1912 1912 "Halloween" The Saturday Evening Post October 26 1912 1912 The Saturday Evening Post November 30 1912 artwork 1912 The Saturday Evening Post November 30 1912 c1912 Football Player 1913 "Married Bliss" The Saturday Evening Post June 21 1913 1913 The Saturday Evening Post March 22 1913 1914 "1915" The Saturday Evening Post January 2 1915 artwork 1914 "Bellhop with Hyacinths" The Saturday Evening Post May 30 1914 oil on canvas 71.1 x 50.8 cm 1914 "Bellhop with Hyacinths" The Saturday Evening Post May 30 1914

Ir a la versión en español J.C. LEYENDECKER From August 31 to December 31, 2019 REYNOLDA HOUSE MUSEUM of AMERICAN ART Couple in Boat. Arrow collar Ad. J.C. Leyendecker, Oil on canvas, 1922.

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J. C. Leyendecker Portrait Art Print – 7 in x 10 in Design – Paper 8.5 in x 11 in – Unmatted, Unframed

Начало здесь , продолжения тут и тут . J.C. LEYENDECKER American Art Archives Today’s Inspiration A Different Drummer Vintage et cancrelats Erik Johnson Illustrator Clinton T. Hobart Midnight Pine Large Size Paintings The Arting Blog Comics Book Stories The Saturday Evening Post The Pictorial Arts

A really good picture by J.C's brother Frank

Life Magazine Cover, 1922, Flapper Butterfly, FX Leyendecker, Brother to JC Leyendecker. Art Deco era art, antique magazine covers, 8x10" Canvas Print, fantasy art Colors will vary due to your monitor settings Free ship US You frame it! This art print was taken from a vintage painting, print, postcard or digital source. It is in the public domain in the US because the copyrights (if any) have expired. NOTE: Our prints are taken from an antique/vintage paintings, greeting cards, post cards etc.. Much of the time, these were originally printed on a soft and porous paper, which softened the images. They didn't have the technology back then to photo-shop and fix these images. That is why I chose to reproduce only antique art in it's original content (no photo-shop). I love the old school art. These are also paintings and drawings, and so the styles vary. The papers we use today, have special coatings so that they attract the inks or dyes well, and stop much of the seeping of the inks. Our new technologies print exactly what is on the scan of the original image. If you purchase canvas, it is made of cotton, and even though it also has this special coating, it is textured, and softens the look of the final result. It is archival, and of the highest quality, but is best for paintings since they were mostly created on artist canvas. It is important to note that if you are buying on your phone or tablet, the images you see are only tiny thumbnails, and so you can't really see the detail in the scan on the listing. If you can look on a computer, you can then see the depth and detail of the image you want. Artwork is not created equal, and sometimes there are clear and distinct lines, and other times the style is less detailed. Lastly, Colors will vary slightly, due to the difference in your monitor settings. Please zoom in on the image to see the detail. All quoted shipping costs are USA only. I will ship to your country, via first class intl. USPS, but please contact me for a quote before you buy. All art prints are custom designed to fit into a standard, modern frame. The openings on these frames are smaller than the listed size. Your print will be slightly larger than the opening. You can carefully trim it to fit your frame, and pop it in, with or without a mat. Each print is made as it is ordered. Please convo me if you need a specific size. I use real cotton artist's canvas, and the newest technology to enlarge the images, pixel x pixel. There is no stretching or skewing, Cotton canvas is textured in tiny squares, and produces a soft finish like a painting. Since it is fabric, it grabs the color for an extraordinary presentation. I use archival canvas, and special dyes to print each image. They will last 100 years under normal circumstances. Your monitor settings will vary from mine, so colors may look different to you than they really are. Color match technology produces exact colors to the image file used. NO stretching or mounting is needed. No need for expensive, custom framing. I use special, secure packing materials, to insure that your item arrives safely. I have been collecting and selling art prints for many years. I may have just what you are searching for. Just ask, and I will create a special listing, just for you. Thank you for your interest. Carol@ just4allkids [!at] yahoo.com

Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post. Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication. For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 4 also. This is part 5 of a 10-part series on the works of J. C. Leyendecker: 1923? The Saturday Evening Post oil on canvas 54 x 40.6 cm 1924 "Easter" The Saturday Evening Post April 19 1924 1924 "July Fourth" The Saturday Evening Post July 5 1924 1924 "Saint Valentine" The Saturday Evening Post February 16 1924 artwork 1924 "Saint Valentine" The Saturday Evening Post February 16 1924 1924 "Spring Styles" Kuppenheimer Clothing study 1924 "Spring Styles" Kuppenheimer Clothing 1924 "Thanksgiving" The Saturday Evening Post November 29 1924 1924 "Life Guard" The Saturday Evening Post August 9 1924 1924 The Saturday Evening Post December 20 1924 1924 The Saturday Evening Post December 20 1924 1924 The Saturday Evening Post October 25 1924 1924c Kuppenheimer Clothing 1925 "Christmas" The Saturday Evening Post December 26 1925 1925 "Christmas" The Saturday Evening Post December 26 1925 1925 "Easter" The Saturday Evening Post April 11 1925 1925 Kuppenheimer Clothing The Saturday Evening Post October 3 1925 1925 Making Money magazine November 1925 1926 "Thanksgiving" The Saturday Evening Post November 26 1921 1926 "Lune de Miel" ( Honeymoon ) The Saturday Evening Post July 17 1926 artwork 1926 "Lune de Miel" ( Honeymoon ) The Saturday Evening Post July 17 1926 1926 "Who, Me Work?" The Saturday Evening Post January 23 1926 1926 "Who, Me Work?" The Saturday Evening Post January 23 1926 1926 Interwoven Socks The Saturday Evening Post September 25 1926 1926 Kuppenheimer Clothing The Saturday Evening Post September 18 1926 1926 Kuppenheimer Clothing The Saturday Evening Post September 18 1926 1926 Kuppenheimer Clothing 1926 "Christmas" The Saturday Evening Post December 25 1926 1926 "Christmas" The Saturday Evening Post December 25 1926 1927 "1928" The Saturday Evening Post December 31 1927 artwork 1927 "1928" The Saturday Evening Post December 31 1927 1927 "Christmas" The Saturday Evening Post December 24 1927 study 1927 "Christmas" The Saturday Evening Post December 24 1927 1927 "Christmas" The Saturday Evening Post December 24 1927 1927 "George Washington" oil on canvas 72.4 x 54.6 cm The Saturday Evening Post July 2 1927 1927 "George Washington" The Saturday Evening Post July 2 1927 1927 "John Barrymore" Kuppenheimer Clothing 1927 "Thanksgiving" The Saturday Evening Post November 26 1927 1927 A Senator of Rome 1927 Collier's Weekly September 1927 artwork 1927 Interwoven Socks advertisement oil on canvas 99.1 x 73 cm National Museum of American Illustration, Newport, Rhode Island 1927 Interwoven Socks advertisement studies 1927 Kuppenheimer Clothing The Saturday Evening Post September 24 1927 1927 Kuppenheimer Clothing The Saturday Evening Post October 29 1927 1927 "Springtime-Little Bo Peep" oil on canvas 81.3 x 61 cm The Saturday Evening Post May 7 1927 1927 The Saturday Evening Post May 7 1927 1927 The Saturday Evening Post May 7 1927 study 1928 "1628-1928 Thanksgiving" The Saturday Evening Post November 24 1928 The Saturday Evening Post November 24 1928 1928 "1776" The Saturday Evening Post June 30 1928 1928 "Spring" The Saturday Evening Post June 2 1928 1928 Kuppemheimer Clothing The Saturday Evening Post October 27 1928 1929 "1776" The Saturday Evening Post June 29 1929 1929 "1776" The Saturday Evening Post June 29 1929 study ( lower left ) 1929 "1930" The Saturday Evening Post December 28 1929 1929 "Spring" The Saturday Evening Post March 30 1929 The Saturday Evening Post March 30 1929

Excerpted from an essay by Roger T. Reed The Leyendecker Brothers credo to "buy more than you can afford -- if every day you have to work to save yourself from ruin, every day you'll work" would, inevitably, lead to tragedy. Roger T. Reed describes "the culmination of their profligacy" in his essay on the Leyendeckers: "... the building of a chateau in New Rochelle, New York, with separate wings for each studio, elaborate landscaping with fountains and fish pools and a staff to take care of it all." Reed continues, "When J.C. raised the bar higher than Frank could reach, the destructive side of the credo emerged. How could Frank ever catch up while sharing overexpenditures at J.C.'s rate? Frank suffered migraines and started taking drugs... eventually this competitive bond between the brothers split them apart." "By 1921, there was trouble brewing at the mansion, much of which can only be guessed at. It appears that Frank could not keep up with the expenses and was tiring of the rat race he and J.C. had created. When [J.C.'s manager, Charles] Beach began to 'help' Frank with his share of the bills, Beach began to own Frank." At one point J.C. was apparently going to get married... ... but Reed suggests that this may have been an attempt by J.C. to end his relationship with Charles Beach. However Beach "promptly threatened to publicly reveal J.C.'s homosexuality." As for Frank Leyendecker, "instead of having the leisure to explore the fine arts work he wanted to do, Frank got thrown out of the mansion along with J.C.'s sister Augusta." Depression, drugs, lacklustre and low-paying work in a studio above a garage must have all contributed to Frank's untimely death at age 46. Reed writes that it was "probably a suicide. At the Chateau, the subject of Frank was thenceforth taboo." Reed describes how, despite what must have been a difficult emotional time after Frank's death, J.C.'s output never slowed. His work did, however, begin displaying "a black humor" and "a sharper edge." When The Saturday Evening Post began printing its covers in full colour in 1926, J.C. seems to have been at last "pulled out of his funk," according to Reed. "J.C. celebrated with startlingly colorful slices of American life..." ... and "In the thirties ... J.C. hit his perfect stride, and his covers practically strut with fresh new ideas executed with conviction and... amusing twists of humor." But when the Post stopped assigning J.C. covers in the late 1930s, he found himself, in his late '60s, having to hustle for work. "Several excellent series of advertising paintings for new clients were the result of this hardship, however," Reed tells us. After a lifetime of living beyond his means, of fearing the truth about his sexuality might be revealed, of causing the estrangement of his beloved brother (and quite possibly contributing to his early death), of being tied to Charles Beach (whom Norman Rockwell described in his autobiography as a "bloodsucking parasite"), J.C. Leyendecker died of a heart attack in 1951, unable to leave any savings for his manager and life partner. According to Reed, "Beach was reduced to selling J.C.'s sketch canvases to pupils at the Art Students League for drinking money." Lucky for us, because otherwise these would not have survived - - J.C. had wanted his sketch canvases destroyed. After his death, Charles Beach and J.C.'s sister, Augusta, sold the originals of his Saturday Evening Post covers at a yard sale for $75 each... ... and, Reed tells us, an area art supply shop had stacks of J.C.'s sketches available for just a dollar a piece. They languished for years as there was little interest from the store's patrons. * Thanks to Roger T. Reed of the Illustration House for allowing me to excerpt from his essay on J.C. Leyendecker. The essay is © Roger T. Reed and originally accompanied the '97-'98 J.C. Leyendecker retrospective at the Norman Rockwell Museum. * Many of today's images were sourced from the Leyendecker Group on Flickr

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Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post. Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication. For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 3 also. This is part 4 of a 10-part series on the works of J. C. Leyendecker: 1918-19 Kuppenheimer Clothing Style Booklet 1918c Order Coal Now lithographic poster 1919 "April" The Saturday Evening Post April 5 1919 1919 "Lifeguard" The Saturday Evening Post August 23 1919 1919 "Thanksgiving" The Saturday Evening Post November 29 1919 1919 Chesterfield Cigarettes 1919 Chesterfield Cigarettes 1919 The Saturday Evening Post May 10 1919 artwork 1919 The Saturday Evening Post May 10 1919 1919 The Saturday Evening Post WW1 Soldier and Civil War Veteran 1920 "Easter 1920" The Saturday Evening Post April 3 1920 1920 "Graduate" oil on canvas 61.6 x 50.8 cm The Saturday Evening Post June 5 1920 The Saturday Evening Post June 5 1920 1920 "The Candidate" The Saturday Evening Post oil on canvas 71.1 x 55.9 cm 1920 Arrow Shirts The Saturday Evening Post November 16 1929 1920 Kuppenheimer Clothing artwork 1920 The Saturday Evening Post July 3 1920 1920 The Saturday Evening Post December 25 1920 1920 The Saturday Evening Post November 27 1920 artwork 1920 The Saturday Evening Post November 27 1920 1920c Arrow Shirts 1920c Kuppenheimer Good Clothes oil on canvas laid on board 67.9 x 50.8 cm 1920s Arrow Dress Collars and Shirts 1920s Arrow Dress Collars and Shirts study 1921 "1922" The Saturday Evening Post December 31 1921 artwork 1921 "1922" The Saturday Evening Post December 31 1921 1921 Interwoven Socks advertisement 1921 Interwoven Socks The Saturday Evening Post June 4 1921 1921 Kuppenheimer Clothing The Saturday Evening Post October 8 1921 1921 Kuppenheimer Clothing The Saturday Evening Post August 13 1921 1921 Kuppenheimer Clothing The Saturday Evening Post April 23 1921 1921 Kuppenheimer Good Clothing 1922 "Easter" The Saturday Evening Post April 15 1922 1922 "Thanksgiving" The Saturday Evening Post November 25 1922 1922 Kuppenheimer Clothing The Saturday Evening Post September 9 1922 1922 Kuppenheimer Clothing The Saturday Evening Post February 25 1922 1922 Kuppenheimer Clothing 1922 The Saturday Evening Post October 14 1922 1922 The Saturday Evening Post December 23 1922 1922 The Saturday Evening Post December 23 1922 1922 The Saturday Evening Post June 24 1922 1923 Kuppenheimer Good Clothes oil on canvas 71.1 x 53.3 cm The Saturday Evening Post June 14 1923 1923 The Saturday Evening Post October 6 1923 1923 The Saturday Evening Post March 17 1923 artwork 1923 The Saturday Evening Post March 17 1923 1923 The Saturday Evening Post December 22 1923 artwork 1923 The Saturday Evening Post December 22 1923 1923 The Saturday Evening Post August 25 1923 artwork 1923 The Saturday Evening Post August 25 1923 1923 The Saturday Evening Post October 27 1923 1923 "Easter" The Saturday Evening Post March 31 1923 Easter artwork 1923 "Easter" The Saturday Evening Post March 31 1923 1923 The Saturday Evening Post June 2 1923 studies 1923 The Saturday Evening Post June 2 1923

Excerpted from an essay by Roger T. Reed The Leyendecker Brothers credo to "buy more than you can afford -- if every day you have to work to save yourself from ruin, every day you'll work" would, inevitably, lead to tragedy. Roger T. Reed describes "the culmination of their profligacy" in his essay on the Leyendeckers: "... the building of a chateau in New Rochelle, New York, with separate wings for each studio, elaborate landscaping with fountains and fish pools and a staff to take care of it all." Reed continues, "When J.C. raised the bar higher than Frank could reach, the destructive side of the credo emerged. How could Frank ever catch up while sharing overexpenditures at J.C.'s rate? Frank suffered migraines and started taking drugs... eventually this competitive bond between the brothers split them apart." "By 1921, there was trouble brewing at the mansion, much of which can only be guessed at. It appears that Frank could not keep up with the expenses and was tiring of the rat race he and J.C. had created. When [J.C.'s manager, Charles] Beach began to 'help' Frank with his share of the bills, Beach began to own Frank." At one point J.C. was apparently going to get married... ... but Reed suggests that this may have been an attempt by J.C. to end his relationship with Charles Beach. However Beach "promptly threatened to publicly reveal J.C.'s homosexuality." As for Frank Leyendecker, "instead of having the leisure to explore the fine arts work he wanted to do, Frank got thrown out of the mansion along with J.C.'s sister Augusta." Depression, drugs, lacklustre and low-paying work in a studio above a garage must have all contributed to Frank's untimely death at age 46. Reed writes that it was "probably a suicide. At the Chateau, the subject of Frank was thenceforth taboo." Reed describes how, despite what must have been a difficult emotional time after Frank's death, J.C.'s output never slowed. His work did, however, begin displaying "a black humor" and "a sharper edge." When The Saturday Evening Post began printing its covers in full colour in 1926, J.C. seems to have been at last "pulled out of his funk," according to Reed. "J.C. celebrated with startlingly colorful slices of American life..." ... and "In the thirties ... J.C. hit his perfect stride, and his covers practically strut with fresh new ideas executed with conviction and... amusing twists of humor." But when the Post stopped assigning J.C. covers in the late 1930s, he found himself, in his late '60s, having to hustle for work. "Several excellent series of advertising paintings for new clients were the result of this hardship, however," Reed tells us. After a lifetime of living beyond his means, of fearing the truth about his sexuality might be revealed, of causing the estrangement of his beloved brother (and quite possibly contributing to his early death), of being tied to Charles Beach (whom Norman Rockwell described in his autobiography as a "bloodsucking parasite"), J.C. Leyendecker died of a heart attack in 1951, unable to leave any savings for his manager and life partner. According to Reed, "Beach was reduced to selling J.C.'s sketch canvases to pupils at the Art Students League for drinking money." Lucky for us, because otherwise these would not have survived - - J.C. had wanted his sketch canvases destroyed. After his death, Charles Beach and J.C.'s sister, Augusta, sold the originals of his Saturday Evening Post covers at a yard sale for $75 each... ... and, Reed tells us, an area art supply shop had stacks of J.C.'s sketches available for just a dollar a piece. They languished for years as there was little interest from the store's patrons. * Thanks to Roger T. Reed of the Illustration House for allowing me to excerpt from his essay on J.C. Leyendecker. The essay is © Roger T. Reed and originally accompanied the '97-'98 J.C. Leyendecker retrospective at the Norman Rockwell Museum. * Many of today's images were sourced from the Leyendecker Group on Flickr

В 1800-х годах Неоклассицизм был формализован в Европе как результат академического искусства, и снова популярные персонажи из прошлого представлялись в основном обнаженными моделями. В XIX веке классицизм был доведен до совершенства прерафаэлитами, и скончался, исчерпал себя практически…

J. C. Leyendecker in 1895 Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post. Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication. Leyendecker was born in 1874 in Montabaur, Germany. The family moved to Chicago in 1882. After working in late adolescence for an engraving firm in Chicago, and completing his first commercial commission of 60 Bible illustrations for the Powers Brother Company, he sought formal artistic training at the Chicago Art Institute. After studying drawing and anatomy under John H. Vanderpoel at the Institute, Joseph and his younger brother, Frank Xavier Leyendecker, enrolled at the Académie Julian in Paris for a year, where they were exposed to the work of Toulouse Lautrec, Jules Chéret and Alphonse Mucha. The brothers returned to America in 1899 and set up residence in Hyde Park, Illinois, and had a studio in Chicago. That year Joseph received his first commission for The Saturday Evening Post, beginning his four –year association. The brothers moved to New York in 1900 and during the next decade the brothers began lucrative long-term relationships with apparel manufacturers including Interwoven Socks, Kuppenheimer & Co., and Cluett Peabody and Co. The Flapper by F. X. Leyendecker Artwork by F. X. Leyendecker for The Flapper The latter resulted in Joseph Leyendecker’s most important commission when he was hired to develop a series of images for Arrow brand shirt collars. Leyendecker often used his favourite model and partner, Charles Beach. Charles Beach by J. C. Leyendecker In 1914 the Leyendeckers and Charles Beach moved into a large home and studio in New Rochelle, New York, where J.C. would remain for the rest of his life. J. C. Leyender's home in New Rochelle, New York photo: public domain During World War 1 Leyendecker produced recruitment posters for the United States military. The 1920s saw Leyendecker at the peak of his career, with some of his most recognisable work completed during this period, and he himself became recognised as being among America’s pre-eminent commercial artists. (Frank Leyendecker died in 1924). The 1930s saw a decline in Leyendecker’s popularity, (the shirt, tie and collar industry had seriously declined after 1921), and the Wall Street Crash of 1929 also contributed to Leyendecker’s fall in commissions. His last cover for The Saturday Evening Post was January 2, 1943. J. C. Leyendecker's last Saturday Evening Post cover Leyendecker died at his estate in New Rochelle in 1951. Charles Beach died a few months later. Leyendecker's monument Biographical notes adapted form WiKipedia, with thanks. This is part 1 of a 10-part series on the works of J. C. Leyendecker: n.d. At Tea gouache on cardboard with light tan paper facing 34.6 x 35.6 cm The Metropolitan Museum of Art, New York n.d. Man Standing graphite on green wove paper 31.8 x 23.7 cm The Metropolitan Museum of Art, New York n.d. Seated Woman black watercolour, white gouache and graphite on blue-grey wove paper 18.1 x 23.5 cm The Metropolitan Museum of Art, New York 1818 Collier's magazine 5 January 1918 1896 The Century August, Midsummer Holiday Number 1896 commercial lithography in yellow, green, red, and gold 1897 "A Mon Ami…" 1900 Success Magazine Christmas Number 1900 1900 Success Magazine Christmas Number 1906 1903 The Saturday Evening Post 16 May 1903 1904 "Christmas" The Saturday Evening Post December 3 1904 1904 "Christmas" The Saturday Evening Post December 3 1904 1904 "Couple on Deckchairs" Collier's magazine cover 18 June 1904 tempera on board 1904 Charging Japanese Soldiers 1904 The Club-Fellow & Washington Mirror 1904 The Garden Walk 1905 "Easter" The Saturday Evening Post April 22 1905 1905 Christmas Dinner 1905 Success Magazine February 1905 1905 Success Magazine December 1905 1906 "Cuchulain" The Century Magazine January 1907 1906 "Easter" The Saturday Evening Post April 7 1906 oil on canvas 50.8 x 50.8 cm 1906 "Easter" The Saturday Evening Post April 7 1906 1906 "Queen Maeve" The Century Magazine January 1907 1906 "The Crimson Conquest" by Charles Bradford Hudson cover illustration 1906 Ridolfo and Gismonda 1906 The Saturday Evening Post June 2 1906 1907 "Christmas" The Saturday Evening Post December 7 1907 1907 "Thanksgiving" The Saturday Evening Post November 23 1907 1907 "The Speed God" Collier's magazine January 19 1907 1907 "Vacation" Collier's magazine cover illustration oil on canvas @ American Illustrators Gallery, New York 1907 Arrow Collars and Cluett Shirts artwork 1907 Arrow Collars and Cluett Shirts advertisement 1907 Collier's' magazine 26 October 1907 artwork 1907 Collier's' magazine 26 October 1907 1907 Cuchulain In Battle 1907 Harvard Crew Team advertisement for Howard Watch Company oil on canvas 76.2 x 55.9 cm 1907 Success Magazine March 1907 1907 The Saturday Evening Post October 5 1907 1907 The Saturday Evening Post July 6 1907 artwork 1907 The Saturday Evening Post July 6 1907 1908 "February 29 1908" The Saturday Evening Post February 29 1908 1908 "Independence Day" The Saturday Evening Post July 4 1908 artwork 1908 "Independence Day" The Saturday Evening Post July 4 1908 1908 Collier's magazine 1908 The Punter 1908 The Saturday Evening Post April 11 1908 1908 The Saturday Evening Post December 19 1908 1908 The Saturday Evening Post December 26 1908 1909 "1910" The Saturday Evening Post January 1 1910 artwork "1910" The Saturday Evening Post January 1 1910

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Life Magazine cover from 1922 by Frank Xavier Leyendecker (the lesser known of the two Leyendecker [illustrator] brothers). The image form suggests a young lady maturing into adulthood during the jazz age. Provocative clothing and bright colours are part of the whole notional rejection of the conservative mores of behaviour and dress a 'proper' young lady was supposed to adhere to. See: en.wikipedia.org/wiki/Flapper and www.americanartarchives.com/leyendeceker,fx.htm The image was scanned at 600dpi from 'Pantone in Color' 2011, by Eiseman & Recker.

In December of 1950, Saturday Evening Post cover artist J.C. Leyendecker outlined his basic method in a letter to a student. “My first step ...

Joseph Christian Leyendecker (1874 – 1951) родился в Германии. Когда ему было 6 лет, семья эмигрировала в США. С 1896 по 1950 годы Leyendecker проиллюстрировал более 400 журнальных обложек, в том числе 322 для самого популярного американского журнала The Saturday Evening Post. Leyendecker оказал…

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