The Roaring Twenties
1919 – 1929
Post-war social change
After the First World War, nothing would ever be the same again. There had been too much suffering, too much deprivation. Cappiello would witness these changes. Women would no longer wear corsets, nor would they be hindered by long, difficult-to-wear dresses or elaborate hats. They would have fewer domestic staff and many would do their own housework, washing clothes, for example, and using new machines. They would become “natural”.
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Artistic evolution
During the Roaring Twenties, from 1919 to 1929, the lines of Cappiello’s posters became softer, shadows became more prominent and colors exploded. As for his imagination, it was as overflowing as ever. “We are carried away, seduced, intoxicated by the circus of comic elephants, playful bears, shimmering parrots and prancing horses, by these fireworks of multicolored petals, by these showers of flowers, these streams of ribbons and streamers, this bacchanal of women who all seem to have the devil in their bodies, by this carnival of Italian comedy, by these pages, these pashas, these kings, these monks, these operetta rajahs, by this round of demons and genies, these dances of dryads and faunesses, finally by all these forms drunk with movement, stemming from a funambulistic imagination and frolicking in the absolute as in a dream. ”
(L’Art Vivant du 15/12/1926 – Les Maitres de l’affiche / Cappiello by Louis Chéronnet).
New collaboration and projects
At the end of 1918, Cappiello left Vercasson. He signed an exclusive contract with Devambez for the publication of his posters, while retaining his independence for other works. He was no longer obliged to supply a minimum number of works each month, but Cappiello’s reputation was such that he would always exceed the minimums previously imposed on him. In 1921, to limit the risks to Devambez, who was more of an engraver and art publisher than a poster publisher, they jointly created a limited company: “Les Nouvelles Affiches Cappiello / Atelier d’Art Devambez”.
Throughout this period, Cappiello took part in numerous exhibitions, including the first Salon de la Publicité in Paris in 1920, the Salon de l’affiche in Beauvais in 1922, the Venice Biennale and the Institut Français in New York. In 1923, he exhibited his poster work at the Galerie Devambez. The scope and impact of this event was to remain a milestone in his career, underlining the importance of Cappiello’s posters during the Roaring Twenties.
