中文名: 约瑟夫·克里斯蒂安
外文名: Joseph Christian
别名: Joseph Christian,约瑟夫·克里斯蒂安
国籍: 美国
出生地: 德国蒙塔鲍尔
出生日期: 1874
逝世日期: 1951
艺术流派: 新艺术主义
艺术时期: 象征主义与新艺术风格
代表作品

艺术家简介

1899年,雷恩德克兄弟回到美国,并在伊利诺伊州海德公园的公寓建立了住所。他们在芝加哥410南密歇根大道的美术大厦有一个工作室。在那一年的5月20日,乔收到了他的第一个委托书来自《星期六夜间邮报》,这是他与该国最受欢迎的杂志的四十四年协议的开始。最终,他将为这本杂志制作322本封面,介绍许多标志性的视觉形象和传统,包括新年宝贝,圣诞老人的绯红色装饰,母亲节的花朵和7月4日的鞭炮。1900年,乔,弗兰克和他们的妹妹玛丽搬到纽约市,这个地方然后是美国商业艺术,广告和出版业的中心。在接下来的十年中,两兄弟开始与服装制造商,包括“交织袜子”,“哈特马克斯”,B.库彭海姆&Co.和“克鲁特•皮博迪公司”保持了有利可图的长期合作关系。后者让雷恩德克兄弟得到了最重要的聘用,他们被聘请开发箭牌品牌的衬衫领的一系列图像。雷恩德克的箭牌男性衣领,以及他以后为库彭海姆衣服和交织袜子创造的图像,被来定义美国男性在二十世纪初十几年的时尚。雷恩德克经常使用他最喜欢的模特和合作伙伴查尔斯•彼迟(1886-1952)。雷恩德克的另一个重要委托任务是来自凯洛格的,一个早餐食品制造商。 作为主要广告活动的一部分,他创建了一系列二十个“凯洛格的孩子”来推广凯洛格的玉米片。1914年,雷恩德克在查尔斯•彼迟的陪同下搬进纽约新雷切尔的一所大型房间和艺术工作室,在那里,约瑟夫•克里斯蒂安的余生都在那儿居住。在第一次世界大战期间,除了他给杂志封面和男士时尚广告的所做的工作,约瑟夫•克里斯蒂安还为美国军队画了招聘海报画了和为战争做了一部分工作。20世纪20年代在许多方面是雷恩德克的职业生涯的顶点,他的一些最知名的工作在这段时间内完成。现代广告已经成为他自己的,雷恩德克被广泛认为是美国的商业艺术家之一。 这种流行超越了商业,扩展到雷恩德克的个人生活,在那里他和查尔斯•彼迟举办了大型的活动,后来所有部门的人都参加了。他们在他们的新雷切尔家/工作室举办的聚会是重要的社会和名人活动。由于20世纪20年代标志着J. C. 雷恩德克的职业生涯的顶点,所以20世纪30年代标志着它的衰落的开始。 大约在1930 - 31年,“克鲁特•皮博迪”停止使用雷恩德克的插图在广告,1921后衣领制作行业严重衰败之后,雷恩德克也不再为衬衫和领带设计插图。在这段时间里,总是害羞的雷恩德克变得越来越隐晦,很少与他的妹妹玛丽奥古斯塔和查尔斯以外的人说话(弗兰克在1924年因为一个成瘾的生活方式死了)。也许是因为他在过去十年中全部作品几乎广泛流行,或者由于1929年华尔街崩溃后的新的经济现实,雷恩德克收到的佣金数量稳步下降。在1936年,《星期六夜间邮报》的一个几乎贯穿雷恩德克职业生涯的编辑,乔治•霍拉斯•洛里默在那个时间点退休,并被韦斯利•温拿斯•斯托特(1937年至1942年)代替,然后是本•赫比斯(1942年至1962年), 他们都几乎不委托雷恩德克绘制封面。雷恩德克的最后一张封面是1943年1月2日为《星期六夜间邮报》绘制的新年宝贝,从那以后他结束了最赚钱和最有名的一系列委托工作。新的委任继续被他过滤,但是很缓慢。 其中最突出的是美国战争部的海报,其中雷恩德克描绘武装部队的指挥官鼓励购买债券,以支持国家在第二次世界大战中的努力。1951年7月25日,在他的新罗谢尔的房子里。雷恩德克死于急性冠状动脉闭塞。

In 1899, the Leyendecker brothers returned to America and set up residence in an apartment in Hyde Park, Illinois. They had a studio in Chicago's Fine Arts Building at 410 South Michigan Ave. On May 20 of that year, Joe received his first commission for a Saturday Evening Post cover –the beginning of his forty-four-year association with the most popular magazine in the country. Ultimately he would produce 322 covers for the magazine, introducing many iconic visual images and traditions including the New Year's Baby, the pudgy red-garbed rendition of Santa Claus, flowers for Mother's Day, and firecrackers on the 4th of July.

In 1900, Joe, Frank, and their sister Mary moved to New York City, then the center of the US commercial art, advertising and publishing industries. During the next decade, both brothers began lucrative long-term working relationships with apparel manufactures including Interwoven Socks, Hartmarx, B. Kuppenheimer & Co., and Cluett Peabody & Company. The latter resulted in Leyendecker's most important commission when he was hired to develop a series of images of the Arrow brand of shirt collars. Leyendecker's Arrow Collar Man, as well as the images he later created for Kuppenheimer Suits and Interwoven Socks, came to define the fashionable American male during the early decades of the twentieth century. Leyendecker often used his favorite model and partner Charles Beach (1886–1952).

Another important commission for Leyendecker was from Kellogg's, the breakfast food manufacturer. As part of a major advertising campaign, he created a series of twenty "Kellogg's Kids" to promote Kellogg's Corn Flakes.

In 1914, the Leyendeckers, accompanied by Charles Beach, moved into a large home and art studio in New Rochelle, New York, where J. C. would reside for the remainder of his life. During the first World War, in addition to his many commissions for magazine covers and men's fashion advertisements, J. C. also painted recruitment posters for the United States military and the war effort.

The 1920s were in many ways the apex of Leyendecker's career, with some of his most recognizable work being completed during this time. Modern advertising had come into its own, with Leyendecker widely regarded as among the preeminent American commercial artists. This popularity extended beyond the commercial, and into Leyendecker's personal life, where he and Charles Beach hosted large galas attended by people of consequence from all sectors. The parties they hosted at their New Rochelle home/studio were important social and celebrity making events.

As the 1920s marked the apex of J. C. Leyendecker's career, so the 1930s marked the beginning of its decline. Around 1930–31, Cluett, Peabody, & Co. ceased using Leyendecker's illustrations in its advertisements, now for shirts and ties as the collar industry seriously declined after 1921. During this time, the always shy Leyendecker became more and more reclusive, rarely speaking with people outside of his sister Mary Augusta and Charles (Frank had died in 1924 as a result of an addiction-riddled lifestyle). Perhaps in reaction to his almost all-pervasive widespread popularity in the previous decade, or as a result of the new economic reality following the Wall Street Crash of 1929, the number of commissions Leyendecker received steadily declined. In 1936, the editor at the Saturday Evening Post for all of Leyendecker's career up to that point, George Horace Lorimer, retired, and was replaced by Wesley Winans Stout (1937–1942) and then Ben Hibbs (1942–1962), both of whom rarely commissioned Leyendecker to illustrate covers.

Leyendecker's last cover for the Saturday Evening Post was of a New Year Baby for January 2, 1943, thus ending the artist's most lucrative and celebrated string of commissions. New commissions continued to filter in, but slowly. Among the most prominent were posters for the United States Department of War, in which Leyendecker depicted commanding officers of the armed forces encouraging the purchases of bonds to support the nation's efforts in World War II. Leyendecker died on July 25, 1951, at his estate in New Rochelle of an acute coronary occlusion.

——artlib翻译整理