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POSTER: ROGER BRODERS (1883-1953) LE MONT-BLANC / CHAMONIX. Circa 1924. 42x31 inches. F. Champenois, Paris.
ROGER BRODERS (1883-1953) LE MONT-BLANC / CHAMONIX. Circa 1924.
42 3/8x31 1/8 inches. F. Champenois, Paris.
Condition B+: punch-holes, repaired tears, and foxing in margins.
This is one of Broders's earlier travel posters, as he started designing them in earnest in 1922. Here, for the exclusive French Alpine town, Broders employs his effective, distinctive approach to design. He uses three distinct graphic areas to create a formidable sense of depth perception: "The foreground, his view point . . . practically always appearing at the bottom of the poster, rises above the middle distance, thus allowing for depth of field. Trees are added to increase these effects of perspective -- a technique he uses in masterly fashion. The foreground is almost always done in dark hues which serves to enhance and draw the attention of the viewer to the center," where Broders depicts a town or a village, in a lighter shade. "The background . . . represents the mountains, which draws upwards the gaze of the viewer" (Perry / Broders p.11). Perry / Broders 59, Broders p. 70, Hillion p. 217.
42 3/8x31 1/8 inches. F. Champenois, Paris.
Condition B+: punch-holes, repaired tears, and foxing in margins.
This is one of Broders's earlier travel posters, as he started designing them in earnest in 1922. Here, for the exclusive French Alpine town, Broders employs his effective, distinctive approach to design. He uses three distinct graphic areas to create a formidable sense of depth perception: "The foreground, his view point . . . practically always appearing at the bottom of the poster, rises above the middle distance, thus allowing for depth of field. Trees are added to increase these effects of perspective -- a technique he uses in masterly fashion. The foreground is almost always done in dark hues which serves to enhance and draw the attention of the viewer to the center," where Broders depicts a town or a village, in a lighter shade. "The background . . . represents the mountains, which draws upwards the gaze of the viewer" (Perry / Broders p.11). Perry / Broders 59, Broders p. 70, Hillion p. 217.
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