1919 Original French WWI Political Poster, Farman-Goliath - Villa
Size: 18 x 23
Notes: Poster, Linen Backed
Artist: Villa, Georges
Information: For more details, please call 514 656 3301
About The Poster:
The three main figures featured in this poster are Henry and Maurice Farman, the two founders of the Farman-Goliath airlines, and the prime minister of France, George Clemenceau. This poster explicitly references the pivotal moment of the signing of the Treaty of Versailles, which placed severe restrictions on the types of airplanes that the German government could produce. The serpent, in this case, makes reference to Germany. Clemenceau’s position, by stepping on the snake, highlights the effects that he had in such a historical moment.
George Clemenceau (prime minister of France from 1917-1920) reconciled the interests of France, Great Britain and the U.S. by insisting on the signing of the Treaty of Versailles on June 28, 1919. The treaty, signed in the Hall of Mirrors in the Versailles Palace, stipulated that the German government could not produce large passenger airplanes, consequentially hindering the government from rearming the military.
The Farman brothers built their first airplane in 1907 and went on to built the Farman-Goliath (a twelve passenger, twin engine commercial transport version of a bomber aircraft) towards the end of WWI. In 1919. The F.60 Farman-Goliath airplane made its first passenger flight from Paris to London, carrying 11 military personnel.
The poster measures
approx. 18 x 23 inches, is linen backed and in very good condition.
About The Artist:
Georges Villa was
born in Montmédy, Meuse, into a military family; his father was a general.
Villa studied at the Académie Julian and the École des Beaux-Arts, Paris. Among
his teachers were Jules Lefebvre and Tony Robert-Fleury, but the teacher who
had the most influence on Villa was Charles Léandre. Like his friend Jean-Gabriel
Domergue, Georges Villa tried to keep the spirit of 1890s Montmartre alive in
his art, but whereas Domergue looked to Toulouse-Lautrec, Villa looked to
Léandre and Willette. Like all of these artists, Georges Villa was entranced by
the art of the chansonniers of Montmartre, and tried to create a graphic
equivalent of their songs. Villa’s major work as an artist is his 3-volume
collection of Montmartre poems and songs, Montmartre à Chanté, issued in parts
by Les Bibliophiles du Cornet (later Les Bibliophiles du Montmartre), for which
Villa executed 139 etchings, many in colour. Georges Villa exhibited at the
Salon des Artistes Français and with the Association Française des Artistes
Lithographes. Always a humorist, Villa contributed to various satirical journals,
such as Le Rire, L’Assiette au Beurre, and La Vie Parisienne, both as an artist
under his own name, and as a writer under the name G. V. Gévet. Villa also
illustrated works by Anatole France, Balzac, Zola, and Louvet de Coupvray.
Before WWI, Villa was twice invited to Russia by members of the Imperial Family
to paint portraits of Russian officers; he was actually staying at the Imperial
Court when war broke out. Lieutenant Villa was severely injured in Sept 1915,
but seems to have resumed service as an aircraft Observer; sketches of the
pioneers of early aviation provide one of the themes of his art. Georges Villa
is not so well-remembered today as friends such as Louis Marcoussis, who
embraced Cubism while Villa remained loyal to the outmoded style of Léandre.
But within that style Georges Villa made a great contribution to the artistic
heritage of the Montmartre that he loved. Villa was made a Chevalier of the
Légion d’Honneur, and died in 1965.