Decoupage/Mixed

      

"Army Men"

3D piece mounted on gesso board. Three inch soldiers doing their thing hot glue mounted, spray painted army silver with floor surface added. Can be a coffee table piece or hung up for an abstract look.

 

"The Vintage Valentine"

Decoupage piece using vintage Valentine's cards from the 30's, 40's and 50's...

 

  

“Domestic Goddess – The Captive Wife”

$1,700

 

Materials: 50’s wooden ironing board, vintage mannequin head and torso, feather tickler, decoupaged pages from Gals and Gags magazines (published in the 50’s)

 

This piece exemplifies the contradictory nature of the 50’s – The “Good Wife” versus the “Pin Up”. The 50’s housewife was “trapped and caged” – she was the perfect mother who had to dress and behave a certain way. She was expected to keep the house clean and be subservient to her husband. In contradiction, the 50’s pin-up was sexy and free and naughty – she was a symbol of emerging sexual freedom – and eventually helped shape feminism. The ironing board symbolizes the domestic goddess housewife and her role as “mistress of the home.” The mannequin reminds one of the “Stepford Wife” mentality – empty and robotic. The feather emerging from the mannequin is a symbol of both the feather duster, and the feather tickler – one used for cleaning, the other used for pleasure. The surface of the ironing board is decoupaged with pages cut from 1950’s issues of Gals and Gags magazines – clearly evident is the discrepancy between the pin-up photos with glamour goddesses and the comics typifying the male and female mentality toward sexual roles in the 50’s.

 

Readings:

 

“The art of the “pin up girls” was reinforced and the use of pictures of women in sexy positions became gradually widespread. The expression “better than cheesecake'', popular at the time, translated all the magic of these women, they were seen as a fantasy, a dream, quite different from the woman who remained at home: the pin-ups were not to marry, just to admire.

 

With perfect bodies, angel faces and tempting poses, these girls were the consolidation of the “ideal woman”, sensual, extremely feminine, but also adorable and adaptable. The pin-ups were on the magazines, on television, in advertisements, calendars, posters, newspapers. Quickly they personified the ideal of the American woman: self-assertive, daring and elegant.”

 

http://dumas.ccsd.cnrs.fr/dumas-00680821/document

 

“The paradoxical nature of the Fifties was evident in the cultural arena. The Eisenhower era was a time of both squeaky-clean Disneyland and unkempt, edgy beatniks. It was a time when the defiantly sexual Elvis competed with the insufferably bland Perry Como. Rebel Without a Cause, a film about teenagers fighting with switchblades and driving cars off cliffs, was a box-office hit; so too was The Ten Commandments, in which Moses parted the Red Sea and led the Israelites out of Egypt in a grand retelling of one of the Bible's most famous stories.”

 

http://www.shmoop.com/1950s/culture.html

 

“The role of women in the 1950 was repressive and constrictive in many ways. Society placed high importance and many expectations on behavior at home as well as in public. Women were supposed to fulfill certain roles, such as a caring mother, a diligent homemaker, and an obedient wife. The perfect mother was supposed to stay home and nurture so society would accept them. A diligent housewife had dinner on the table precisely at the moment her husband arrived from work. A wife was a "good" wife only if she carried out her man's every order and agreed with him on everything. In fact, even if she wanted to voice an opinion, he education, or rather lack of thereof would not allow it. Another reference is the 1950's American High School Home Economics textbook. An essay found in the book is entitled "How to be a Good Wife." The television shows aired at this time reflect the publics need for stability and conformity. The main character of the most watched show at the time, I Love Lucy, portrayed a woman as the stereotypical woman-in-distress, who always needed her husband, the man, to bail her out. She also was symbolic of the inept woman: the "woman driver," the "over-spender" who cannot budget, and the basic downfall of man.”

 

http://www.colorado.edu/AmStudies/lewis/1025/women1950s.pdf

 

“Women faced many challenges in the 1950s. True, there was the comfort and stability that comes from peace, a booming economy, a happy marriage and a house full of children. Yet, there were so many contradictory messages. Happiness was supposed to come from being a homemaker – a wife, a mother, yet being a “career girl” was gaining popularity. To attract a husband, and keep him, you were supposed to be attractive and sexy, but wholesome and proper. Sure, Marilyn Monroe had all the men swooning, but you weren’t supposed to be overtly sexual like her! It was a conservative time, after all, but traditional values were being challenged across all areas of life. The women of the 1950s smartly adapted and let their intuition guide them. They nurtured their children, supported their husbands, and managed their households with the efficiency of a CEO.”

 

 

The Ultimate Pin-up (Table - decoupage)

 

$600

 

Cut out from the pages of the popular pin-up magazine, "Girls and Gags," this one-of-a-kind table is beautifully decoupaged with original pin-up photos from the 50's and carefully preserved with varnish. A great addition to the boudoir!

 

 

Cigar Box #1

 

 


 

 

Cigar Box #2

 

 

 

 

Bar Case

 


"Doll Faced"

3D piece in red shadowbox. Cloth doll faces from the 30's/40's hot glued and mounted. A very eerie piece!

   

"Black Skulls"

3D piece in black shadowbox. Little plastic skulls, hot glued and mounted, then spray painted. A cool piece for modern art lovers!