Art Deco Style meets Classic Auto Design

Alain Lévesque from Hemmings Classic Car

February, 2010 - Mark J. McCourt

Alain working on one of his classic pieces

In the wide spectrum of talented artists, only a handful have developed an instantly recognizable, totally unique style that is incomparably their own. In the focused world of automotive fine art, there is no one who paints like Québec, Canada, native Alain Lévesque, and because of this, his art is sought and celebrated around the world.

"I was very young when I first became interested in automobiles, probably four or five," he recalls. "It was well before I started school. It was probably because my father was so enthusiastic about automobiles; this could have been how I tried to capture my parents' interest. I had a hard time finishing my schoolwork because I was drawing cars in my books. My friends asked me all the time, 'Hey Alain, draw me a Corvette, draw me a Ferrari.'"

Alain pursued graphic design in college, studying at the Université du Québec in Montréal in the 1980s. He later went to work for a publishing company, creating numerous acclaimed poster designs for events like the Montréal World Film Festival and the Americas Cycling Grand Prix.

A 1989 work trip provided the seed that would start him on a new track, one that combined his talent with his passion. "I found an automotive art gallery in the St. James area of London; I'd never seen an art gallery with this specialty before, and seeing these paintings and sculptures--this was the first time that I associated art and automobiles. I was really amazed, it was like a parallel world for me," he explains.

The gallery's owner, Simon Khachadourian, soon commissioned Alain to produce two pieces; the artist returned to London six months later to deliver them. "It was quite exciting for me to get into this world and realize that it was possible to live as an artist with the automobile as my main subject." Alain also soon found representation closer to home, beginning a 20-year working relationship with Jacques Vaucher and his l'art et l'automobile galleries in America.

l'art et l'automobile large poster by Alain 

Lévesque. Available at arteauto.com

It was Khachadourian who first made Alain aware of a major influence behind his trademark abstract interpretive style: "My style is well established now, but I had to work hard to get there--I was developing it at university. Mr. Khachadourian told me my pieces were typical of 'Italian Futurism.' I wasn't really conscious as to the root of my style, and he told me about this art movement, explaining that it was part of the avant-garde art movement of the early 20th century, like the Bauhaus and Cubist movements of the same period. Cubism is well known, and I knew a lot of attention has been paid to Bauhaus because of its importance in avant-garde, but not much is said about Italian Futurism, especially in Europe, due to its political connection with Mussolini. We don't have the same reflections here in North America.

"Mr. Khachadourian offered me a huge reference book on Italian Futurism, and from that I realized how deeply I was inspired by this without knowing it; I developed my style from there more consciously," he continues. "I'd rather be expressive than descriptive. To me, the interest is in the way the subject is treated, rather than in the subject itself. That my work appears as a total abstraction does not bother me, as long as it is able to communicate an idea. The automobile becomes a pretext to create."

Many of Alain's recent pieces have been commissioned, so the first step for him is to learn about the particular car in question before starting his design. "I have to ask the client or representative to tell me about the car's era, where it was created and who owned it. From there, I'll do two or three rough pencil drawings that I send to the client to give him a wide spectrum of options. He might like some of the first with a bit of the third, so I'll construct a new image, this time painted in color using gouache, to give him an idea of the palette. When he agrees with the design and canvas, I move on to the final thing.

Jacques Vaucher, owner of l'art et l'automobile, stands next to one of Alain's works, A room divider detailing a classic Bugatti Dashboard.  Available at arteauto.com

"For years, I worked with gouache and airbrush. I still use the airbrush technique, as it's a good tool for strong graphic designs. I now sometimes use acrylic, but more and more, I prefer working in oil paint because of the quality of the rendering of the shades. Oil is so rich in terms of color, and it gives you the opportunity to work with the shading over a long period of time--more so than acrylic, which dries very quickly," he explains.

Because of his unique style and vision, Alain has been a favorite of concours organizers when it comes to creating original artwork. He has painted at the request of automakers like Porsche and Daimler-Chrysler, has exhibited at Detroit's Meadow Brook Concours d'Elegance since 1995, and has even exhibited alongside the Automotive Fine Arts Society at their annual show at the Pebble Beach Concours d'Elegance. Despite these prestigious showings and commissions, he continues to challenge himself with new and different themes: "My goal is to convey the essence of the automobile, not to illustrate it."

De Soto
"This piece was commissioned by Barrett-Jackson in 2003. They asked me to create an image inspired by typical American fins, a witness of what was the glorious bold American automobile industry era."

1963 Riviera
"Among the masterpieces of Bill Mitchell's legacy, with the Sting Ray and the Toronado, the Riviera's powerful personality makes you feel like you can almost have a conversation with her."

1956 Lincoln
"Working on a commissioned painting of the mighty Batmobile, I felt that I had to return to the classic to find out where the beast was hidden..." 

Cord
"Since my work is related to the Streamline and Art Deco era, it was a natural for me to bring that car in. The Cord's radical design is a signature of the boldness and creativity of the 1920s and 1930s." 

Miller
"Created for the Indianapolis 500 competition in the 1920s, the Miller 91 belongs to the 'Machine Age' era. Dramatically graphic, it recalls the powerful majesty of the Hoover Dam."

Alain redefines the automobile with avant guarde futurism.

I first met Alain in the '80's, and after collaborating on a few shows in New York we became fast friends and have worked together ever since. I immediately enjoyed his work the moment I saw it and have partnered with Alain in order to help share his beautiful artwork with collectors around the world. To celebrate Alain's artistic accomplishments, we here at l'art et l'automobile have gathered all of his artwork we have in the gallery, and present it here to you.

We invite you to view the Alain Lévesque gallery and acquire one of these magnificent pieces for you to display proudly.

Enjoy,

Jacques Vaucher

For more great automotive artwork and memorabilia, don't forget to browse the many other categories on our WEBSITE. Remember we also have many more items in our gallery, do not hesitate to contact us if you are looking for something in particular.


And as always, be sure to Like and Share on Facebook, Follow us on Twitter, share a photo on Instagram and read our Blogs.

Speed Lines by Porsche Panorama

Delivering a fleeting moment in time at a very particular place.

By Michael Jordan, with addition from Jacques Vaucher

When you look at the work of Nicholas Watts, you once again realize that painters have a unique vision of every scene, and this gives them the ability to portray their work in a way that a photographer simply cannot.

To be sure, Watts has a deep respect for automotive machinery, and like a photographer, his realistic images give you a picture of what the cars really look like. Yet painting also gives him the opportunity to put the cars in context, capturing a moment in time that includes not only other cars but also the place where it happened. Through his paintings, Watts is able to tell the story that underlies the speed.

Carrera Panamericana 1952 print by Nicholas Watts, Autographed by Karl Kling,
available at l'art et l'automobile.

Nicholas Watts is another British boy of the 1950s who grew up fascinated by cars. The fact that he lived practically within earshot of the Brands Hatch racing circuit inevitably drew him to motorsport. He started out as a draftsman at Vauxhall, which perhaps accounts for his ability to make the cars look right. He later went into the Royal Air Force as a specialist in navigation systems, which might have something to do with his dedication to making sure the details are correct. Working with both gouache on board and acrylic on canvas over the past 40 years, Watts has created an astonishing number of paintings and prints, and they cover an equally astonishing range of motorsport disciplines.

Raging Bulls giclee by Nicholas Watts, autographed, available at l'art et l'automobile.

In this particular painting, we see the Martini-sponsored Porsche 911 RSR 2.8 that wild man Herbert Müller and Le Mans-winner Gijs van Lennep drove to a win at the Targa Florio in 1973, the last year that this race over the mountain roads of Sicily was included in the sports car world championship. Watts gives us a scene that juxtaposes the speed of the high-tech Porsche with the slow pace of a rustic Sicilian town. The proximity of the spectators shows us the spe- cial enthusiasm that always accompanied this event, as well as the danger that nally ended it.

Le Mans 1954 print by Nicholas Watts, autographed by 5 drivers, available at l'art et l'automobile.

The work of Nicholas Watts is available from many sources, a measure of both its enduring popularity and its relative affordability. We recommend l’art et l’automobile (arteauto.com), Jacques Vaucher’s legendary outlet for automotive art and collectibles. Vaucher has been in the eld since 1975, and he virtually invented the business in the U.S. Most important, Vaucher has a personal relationship with the artists he represents, and his ongoing blog is an entertaining window on the personalities in the eld.

Grand Prix of Japan 1976 acrylic painting by Nicholas Watts, available at l'art et l'automobile.

Richard Baron, Panorama’s creative director, notes, “Like Walter Gotschke and Michael Turner, Nicholas Watts is at the center of the great tradition of automotive art. His realistic style and unique perspectives have made things possible for younger automotive artists— photographers as well as painters.”

Many thanks to Porsche Panorama for Highlighting Nicholas Watts and his talent, as well as the mention of us and our website.

At l’art et l’automobile we have a deep appreciation for the artistry of vintage automobiles, but particularly for the artwork that celebrates them. Nicholas Watts is at the forefront of this sense of dedication to capturing the automotive world through the lens of paint and canvas. To celebrate this fact, we have collected all our pieces by this wonderful artist and present them to you. Find out more about this collection here or enjoy looking through the gallery at arteauto.com, and perhaps add a piece to your collection.

Jacques Vaucher

For more great automotive memorabilia, don't forget to browse the many other categories on our Website. Remember we also have many more items in our gallery, do not hesitate to contact us if you are looking for something in particular.

And as always, be sure to Like and Share on Facebook, Follow us on Twitter, share a photo on Instagram and read our Blogs.

A Colorful History of Racing Hues: British Racing Green

HOW BRITISH RACING GREEN INFLUENCED SPORT TRIUMPHS AND EXCLUSIVE STYLE

By Adam Kaslikowski for Petrolicious and The Outlierman, edited by James Karthauser

What English Car isn't BRG? Photo Courtesy
of Petrolicious

British Racing Green is one of the most iconic colors of the automotive world. It’s provenance goes back 110 years and has decorated countless racing icons. Unfortunately, there are a lot of misconceptions about the origin of this special emerald color. Here we will attempt to sort through the myriad stories and present to you the true origin of British Racing Green.

At the turn of the 20th century, Grand Prix racing was very different. Races were more a contest between nations than they were between drivers or factories. Wealthy American newspaper man James Gordon Bennett, Jr. organized an annual race pitting various countries against each another in a bid for automobile manufacturing supremacy.

The Gordon Bennett Cup races were city-to-city contests, with entries required to consist entirely of components manufactured in their home country. Each country was limited to three entries each, and each car was required to carry both a driver and a riding mechanic at all times. To make national identification of the participants easier, each country was required to adopt a national racing color. They were: blue for France, yellow for Belgium, white for Germany and red for Italy.

James Bond might have stood out less if his DB5 was BRG rather than silver...
Photo Courtesy of Petrolicious

France walked away with the inaugural victory in 1900, and thus was given the honor of hosting the races for the 1901 race. British manufacturer David Napier opted to contest this second race, and entered with his own 50 hp car. Unfortunately, this particular car weighed in at a massive three tons and could not keep its British (Dunlop) tires underneath it. Selwyn F. Edge, the driver for the 1901 race, opted to fit more robust French tires and was subsequently disqualified from the Cup. Most interestingly though, this Napier wore a pale shade of olive that the factory called Napier Green. It is unclear why Napier chose green as his color of choice; most likely it was simply personal preference. Regardless, the deep green we know today had yet to become Britain’s official racing color.

With the disqualification of the heavy Napier, the first two years showcased complete domination by the French, and the other participating countries were beginning to sting at the embarrassment of being unable to challenge the Gallic successes. For the 1902 race, Napier was determined to address its failure from 1901 and developed a much lighter car weighing in at just a ton. With the car’s weight lowered dramatically, the British tires survived the strain of the race. And it wasn’t just the tires that survived – all other entrants for the 1902 race retired from the race due to mechanical problems. With the Napier alone, the Brits sailed to their first Gordon Bennett Cup victory.

British racing green enhances the undeniable presence of glamor of an Aston Martin DB4 GT Zagato, shown
in this photo taken with complete admiration during the 2016 Concorso d'Eleganza Villa d'Este.
Photo Courtesy of Federico Bajetti 

Due to their victory, England was scheduled to host the 1903 event. However, the rule of the British land was that no automobile was allowed to exceed 12mph, and this decree from parliament essentially made motor racing illegal on the entire island. In a mad scramble, the British organizers switched the location of the 1903 to Ireland – a land where the local laws were “adjusted” to accommodate road racing.

A total of three Napier cars contested the 1903 race, and they were pitted against French, German and American entries. According to contemporary newspapers, the olive shade of Napier green was darkened to Shamrock Green in honor of Ireland hosting the races and this is the first public reference to a British car being painted green as a part of a national livery. While it would seem that Napier Green was the coincidental choice of a private manufacturer, what would eventually become known as British Racing Green was a tribute, ironically, to Ireland.

A charismatic color, green: distinct and unexpected. Photo Courtesy of Federico Bajetti for
The Outlierman © 2017

As English auto manufacturers are nothing if not an independent lot, there has never been one true shade of British racing green. While most of us picture a deep forest green, this is not a steadfast rule. From Napier’s pale olive to Bentley’s near black, almost any emerald hue applied to a British car will be greeted with the name British Racing Green.

The British racing green is the symbolic color of British motoring, with over 110 years of honorary history in the world of car racing, it also has a long line of legendary cars and drivers linked to it: from great drivers like Henry Segrave, Kenelm Lee Guinness, William Grover-Williams to iconic teams such as Aston Martin, Vanwall, Cooper, Lotus and BRM.

A Classic, arrayed in British Racing Green,
Photo Courtesy of Petrolicious

A charismatic color, green: distinct and unexpected. Revived in 2000 by Jaguar Racing in Formula 1; then again with Bentley, which would end up winning at LeMans in 2001, 2002 and 2003; and more recently with Aston Martin, who gave this hue to its DBR9. Enthusiasts were also able to admire the British racing green on the Jaguar XK by Rocketsports Racing during the 24 Hours of Le Mans and also on the Lotus T127 in 2010.

Thanks to the triumphs of The British teams and the bewitching charm of the cars that have "worn" it, today the British racing green is still part of the colors that symbolize exclusivity and sporting passion. A shade full of character, history and style that can be celebrated and expressed thanks to the fantastic machines, assembled by some of the finest manufacturers in the world, at the hands of British racing legends, collectors and daily drivers alike.

We here at l'art et l'automobile, as you may know, are avid racing historians, and the Drivers, Manufacturers and race tracks of Great Britain have definitely resonated through the various racing sports throughout the years. To celebrate 60th anniversary of the legendary Mike Hawthorn becoming Britain’s first ever Formula One World Champion and Lewis Hamilton clenching his 5th World Championship Title, we gathered all of our artwork and memorabilia related to the Cars and Drivers of the Isles, and present them here to you.

We invite you to view the British Cars and Drivers gallery and acquire one of these pieces of racing history while they last. Please tour the collection here and perhaps you will find something to add to your collection.

All our best from the staff at l’art et l’automobile,


Jacques Vaucher

For more great automotive artwork and memorabilia, don't forget to browse the many other categories on our WEBSITE. Remember we also have many more items in our gallery, do not hesitate to contact us if you are looking for something in particular.

And as always, be sure to Like and Share on Facebook, Follow us on Twitter, share a photo on Instagram and read our Newsfeed.

Remembering Jack Juratovic

An Icon Passes On

written by Mark J. McCourt, with additional words by Ken Eberts and Jacques Vaucher, edited by James Karthauser

On October 16th, we lost a good friend and great Automotive Artist, car designer and wild character, Jack Juratovic. He left us due to cancer at age 79. He had a good life and we have great fun memories of our time spent together. Our deepest condolences to his friends and family. In memorium of this lost icon, we have dedicated this article to our friend and compatriot Jack.

Ken Eberts had this to say about his friend and business partner;

Jack was a character. Larry Wood of Hot Wheels fame said it best (Larry was one of our gang at Ford Styling in the mid 60's).  Every story that Lwood tells today about the wild and fun days at "Fords" and Detroit in the 60's has Jack at it's center.  Yes, Jack was wild but he was also a damn good designer and promoter not to mention wheeler/dealer. The Automemories Calendar that Jack illustrated for 30 plus years is a good example of his artistic abilities.  The calendars evolved from what Jack said were cartoons to exquisite renderings.  He loved Automotive Art and his wonderful collection of it featured all the great automotive artists and illustrators.  Jack always kept in touch with his friends and earlier this year he organized a reunion of the Ford gang of former Stylists.  Jack drove us all over the southern California mountains, valleys and coastline at breakneck speeds in a new Lincoln Navigator with 7-8 passengers but never missing his line.  Jack liked to drive fast and when I first met him he was racing a Jag E Type at Waterford Hills raceway.  Jack was not only one of the original 6 artists who formed AFAS but he also wrote our Preamble.  From the Preamble he went on to edit the premiere edition of Automotive Fine Art AFAS with a forward by Dean Batchelor and an introduction by Jacques Vaucher sandwiching my President's message.  He edited and published our AFAS Quarterly (print version until digital took over).  He was just as interested in AFAS today and was contributing not only his artworks but also his ideas.  But best of all he was to me a loyal friend for over 50 years.  I will miss him very much.

Marc J. McCourt wrote this fantastic Article about Jack in Hemmings Motor News in 2005;

"I'm a practicing old-car hobbyist," says automotive fine artist Jack Juratovic. "Some artists could care less about old cars on a hands-on basis, and while I'm by no means a certified mechanic, I do like to get under the hood. I consider some of my cars to be rolling sculpture, and I love to drive them as well as simply look at them." From the 1947 Mercury convertible and 1932 Ford V-8 five-window coupe that he wrenched on in high school to the restored 1939 Mercury convertible and 1946 Lincoln Continental that he enjoys driving today, Jack's always-present passion for automotive form and function has fueled his need to create artwork that celebrates the beauty and speed of fine automobiles. 

PIII and the Mallard giclee print by Jack Juratovic

"Like many kids, I drew pictures of cars all through school-I thought I wanted to become an architect. Because my guidance counselor didn't know about the field of industrial design, he steered me towards mechanical engineering, but that didn't last long," he says, with a laugh. Jack switched colleges: "Before you could study industrial design, you had to take two years of fine arts-so you're skilled to go either way in the fine or practical arts." After graduating from the Cleveland Institute of Art in 1965, he went to work in the Ford Motor Company's styling studios. He became disenchanted after two years and left, racing an SCCA B-Production Jaguar until his funds ran out. Jack went on to work at Chrysler styling, then with William Schmidt Associates, a highly regarded independent automotive design firm, before founding his own, BORT, Inc. "At William Schmidt, I learned how to run a respected design firm," he recalled. "BORT was a small design shop run by myself and Jack Purcell, a Ford stylist and my old college buddy. We hauled in professional clay modelers as moonlighters on our projects, which included the Mustang II Cobra and the Monza Mirage. Those years of generating and presenting vehicle ideas-of making sketches into 3D forms-this is how I illustrate an idea. And it's only one step further to fine art." 

"Twenty years after graduating, I started painting to keep my skills sharp. I'd always admired famed automotive illustrator Peter Helck, and when I struck up a friendship with him in the early 1980s, he gave my paintings the nod," Jack recalls with a smile. "I was involved in the first Meadow Brook Concours d'Elegance fine arts show in 1982, and I've pursued art full-time ever since then. I don't pound it out in quantity-I don't think I have that many good ideas," he laughs. "Painting is abstraction, but it has to have a good idea behind it or there's no justification." 

Road and Track November 1935 Duesenberg print by Jack Juratovic

Jack works with water-based paints, including watercolor and gouache. "Peter Helck also inspired me to try caseins, which are milk-based paints that are very permanent," he explains. "When I start a painting, I do color rough thumbnail sketches, then I replicate them on to full scale on 300-pound illustration board or gessoed masonite. I'll create a wash background to set the tone, and then paint in colors from transparent to opaque. Nearly all of the work I do is freehand. The only time I'll take a picture is if I need it to reference the details. Sometimes I'll set up 1:18-scale promo models to act as foils to other models-it's a quick check to make sure I'm drawing the perspective correctly," he explains. 

In addition to his own inspirations, Jack has created concours and historic race event posters, series paintings and an annual vintage car calendar, along with the commissioned pieces for corporations and individuals.  No matter the project, Jack celebrates all facets of the automobile: "In the end, many of my paintings express how a car looked to me instead of how it looks to a camera-it's how my mind's eye imagined it. A good artist captures the essence of a car.  Personally, it's an esoteric thing, the emotion of how it makes you feel."

Jack and I, at the ranch with Luba  

We here at l'art et l'automobile, as you may know, are quite keen on artists and designers who contribute to and elevate the form of the automobile, and capture it's essence in their work.  Jack Juratovic was most assuredly one of those, with the work he did for Ford and Chrysler, his independent work modeling at BORT, definitely his paintings, but more importantly his spirit.  He brought liveliness and character to everyone around him, and his loss has removed a little bit of the light from the world.

Jack, we will miss you, but thanks for all the memories,


Jacques.

For great automotive artwork and memorabilia, don't forget to browse the many categories on our WEBSITE. And do not hesitate to contact us if you are looking for something in particular.

And as always, be sure to Like and Share on Facebook, Follow us on Twitter, share a photo on Instagram and read our Blogs.

Razzia’s Niche

A Talented Artist Finds his Niche

by Jacques Vaucher

In an age when most poster art is computer generated, Razzia is one of the world’s only modern day “poster artist”. During the Golden age of posters, late 1800’s and early 1900’s, before television and certainly computers, advertisers employed the best artists they could find to make interesting and unique renderings of the product they wished to sell or advertise. This was done in order to impact the market and stand out from their competitors with a strong image. In most cases the artist would produce a painting which when approved would be lithographed in a larger size with the appropriate text. Razzia still conceives his posters from an original painting, a technique not common in this day and age. Razzia lives and works outside Paris and has done numerous posters for Louis Vuitton worldwide including the Bagatelle Concours of Elegance and the America’s Cup Challenge. Producing poster images for them established Razzia as an automotive artist to much of his delight as he is an automobile and Formula 1 enthusiast who owns and has owned a few Porsches, Mini Cooper and Triumphs. Since 1985, Razzia has created close to 30 different automobile images for the Louis Vuitton sponsored rallies and Concours d’ Elegance they have organized around the world.

Other clients for which he has worked include Stetson hats, Lancia Automobiles, L’Oreal, International Prêt à Porter Feminin (France), Bloomingdale’s, Macy’s in the U.S., Harrods in the U.K., the Nice Jazz Festival, the City of Deauville, several brand name Champagnes and several restaurants in Paris and New York. Among collectors around the world are Elton John, Jackie Collins and Michael Caine. His work has been shown in every major city around the world and is highly collected.

Louis Vuitton Classic 2004 Waddesdon Manor Concours d'Elegance U.K. poster by Razzia

Possibly the best description of Razzia’s work, as well as his contribution to posters and the art world is this excerpt from the forward of the book: Razzia; 25 Years of Poster Art

Razzia’s Posters embody perfect communication with modern cool in an elegant, crisp style. In his somewhat surreal, stylized brevity we find a technique that is uniquely his own, although ripples of past master can be observed throughout. Cappiello, Erte and Broders are incorporated into Razzia’s works as stylistic touches without resorting to mimicry.

I see razzia’s work as divided into two groups. The first is best described as illustrative, with outstanding examples being the Café de Flore and the Bistro du Nord posters, the stetson design and his many Louis Vuitton images. All are persuasive and decorative visions.

The second group - in my opinion the most compelling - is comprised of posters that attract viewers with their graphic simplicity and unflinching clarity: images such as the Cigar advertisement, the Pasta poster (without a doubt Razzia’s signature piece), Prêt à Porter, the Deauville swimmer, the Bugatti Atlantic and the Lancia (which I fondly remember also having been hand-painted on the side of a ten-story building off the Périphérique road that encircles Paris). I believe that it is in these bold, concise, focused images that we see the strength and graphic through-line of Razzia’s promotional narrative.

Razzia's Famous "Pasta" Poster, available in the collection at arteauto.com

But make no mistake about it: Razzia is the last of a dying breed. Quite possibly, he represents a glorious Art Deco conclusion to the contemporary possibilities of the poster. To look at his work is to be mesmerized by his graphic inventiveness and yet one cant quite ignore the fact that in his creations we see the work of the last artist who, at present, can legitimately be called a posterist.
Sadly, the poster as a viable marketing tool has been in a steady decline. From magazine and television ads to the advent of internet advertising, it’s not hard to see the writing on the wall. Today’s global firms hire the finest artists and craftsmen to make 30-second commercials; they don’t commission posters to be dispersed with their anachronistic distribution system. And on the odd occasion a poster is actually commissioned by advertisers, instead of hiring a top graphic artist to do the job: they hire a fine-art painter in an effort to produce “arty” promotions. Look no further than the yearly French Open (Roland Garros) posters to understand their irrelevance. But compare these designs with Razzia’s poster for that event in 1984 and you’ll quickly comprehend the opportunities squandered by not utilizing a posterist to create - well, posters.

It’s ironic, however, that the popularity of vintage poster art - the true “people’s art” - is reaching an all-time zenith at the exact same time that new poster production appears to be heading the way of the dinosaur. But it’s important to note that rare and vintage posters have achieved this recognition as collectables and decorative items that have nothing to do with the function for which they were originally conceived: widely-disseminated advertising, absolutely necessary for the promotion of products or events.

With that in mind, this book serves not only as a testimonial to Razzia’s graphic flair, but also to his tenacity and ability to straddle the precarious line between the artistic and the commercial. Not only did he carve out a posterist’s career by getting important commissions from top companies, he also managed to retain the publishing rights to his designs, reprinting them and marketing them in galleries throughout the world. This is proof of Razzia’s savvy comprehension of the contemporary marketplace, both in terms of a realistic business acumen as well as his adherence to a personal vision.

I’ve known Razzia for many years. In 1992, I chose him, from a field of renowned worldwide posterists, to create the inaugural poster for my auction enterprise - Poster Auctions International. I also commissioned him to design the poster for my daughter’s wedding. Obviously I was very happy with the results of the artistic endeavors that he undertook on my behalf and I’m pleased that he decided to include them both in this book.

Whatever the future holds in store for the poster medium, one ting is perfectly clear: Razzia’s most striking contribution to graphic art is a personal clarity of vision, a playful freshness that hold the eye of the viewer as if it’s the first time that they’ve come across a design - even if that’s far from the truth. And that, without question, is a contribution well worth celebrating.

Jack Rennert
Director
The International Poster Center
New York City
2007

Louis Vuitton Vintage Equator Run 1993 event poster by Razzia

Razzia with an example of his work.

We are proud to have been working with Razzia for the last 20 years. You can see most of his images on our website at www.arteauto.com. In 2007, with the help of Mickey Ross, Razzia produced a beautiful book; “25 years of Poster art” about his work. It shows his complete production of paintings and posters he has created.

Razzia has found his niche by creating compositions which blend perfectly with vintage advertising posters.

At l'art et l'automobile, we have always held artists and their work in the highest regard, so much so that we call many of these luminaries friends. Razzia (left) is one of those, and to celebrate a partnership that has lasted for more than 25 years, we have gathered a good selection of our best work by Razzia and are ready to present them to you.

Enjoy looking through the collection and tell us which ones you would like to own. Please Tour the gallery at arteauto.com, and perhaps add a piece to your collection.

All our best from the staff at l’art et l’automobile,

Jacques Vaucher

For more great automotive artwork and memorabilia, don't forget to browse the many other categories on our WEBSITE. Remember we also have many more items in our gallery, do not hesitate to contact us if you are looking for something in particular.

And as always, be sure to Like and Share on Facebook, Follow us on Twitter, or share a photo on Instagram.