In 1946 Pineles attempted to take her own life. Publisher Conde Nast, Leslie Nasts wife, happened to be attending the party. Cipe Pineles also did work stylistic work for the Lincold Center, Parsons, and had a career in teaching at Parsons. She was also the coordinator of the educational and promotional material for the center while it was built. Among her work that lasted and impacted people in many other ways are her covers for the Lincoln Center Journal. Art Director Club. Pineles was even confidently sent by Nast to Britain where she got to help with the Coronation spread in Vogue. “The cultured sensibility of Cipe Pineles.” Eye Magazine, Winter 2005, eyemagazine.com. If Cipe would talk about getting married as means of  support, Sam would rebuttal by saying, “marriage is not a full-time occupation. “About Cipe.” Cipe Pineles, Squarespace, cipepineles.com. If an image is worth a thousand words, here are some of the designs of this artist. However, their small town remained unscathed. Two year into her work with Glamour, she became Art Director for the first time. Cipe was not the first female graphic designer in America, but she was the first one that began to receive the recognition that she deserved. “Graphic Design Archive Online – Cipe Pineles.” Rochester Institute of Technology , RIT, library.rit.edu. Change ), You are commenting using your Facebook account. Upon her return, she continued to work with Agha and shortly thereafter, Glamour Magazine. http://www.typotheque.com/articles/women_graphic_designers, http://visualthinking.studiojunglecat.com/2011/07/03/theseus-paradox/, www.adcglobal.org/archive/hof/1975/?id=282, An Arranged Marriage Between Art and Technology- The Vison of György Kepes, Tethering among Futurist Visual Poems, Dadaist Visual Poems and Concrete Poetry, Thèophile-Alexandre Steinlen (1859-1923) Art Nouveau with a Social Realism Touch, Ink and printing-basic ingredients for food menus, Links to Collections of Illuminated Manuscripts, Initial thoughts about the book “Megg’s History of Graphic Design”, Áncora, La Nación, Costa Rica, 18 de Junio, 2017, http://www.typotheque.com/articles/women_graphic_designers, Theseus’ Paradox: A Visual Investigation of Image Differentiation. Shortly after that move, Cipes brother Sam, was the one who helped with the decision to get their family to America. Considering that both of the books we have used for this class, one as text and the other as reference are recently published ( Megg’s is the fifth edition, 2012 and Drucker’s book was published in 2009), it is very strange for me that in the twenty first century, the authors didn’t bother to explore more and add more women to the glorious contributions of mostly white males. The Pineles were in Gliniany, Poland when the beginning of the World War I started. Cipe Pineles (1908-1991) moved to New York from Vienna in 1923 with her family. Her skill at Pratt only increased from high school, and she passionately excelled in the higher education environment. She won less awards than her male-counterparts, and deserved many more than New York Art Directors Club Gold Medal (Scotford, Cipe Pineles a Life of Design . Change ), You are commenting using your Google account. Her Influence helped young women begin to see themselves as something different than what society had expected of them (“Age of Information…Charm Magazine”). She described working with Valentine at Seventeen Magazine as “ The most enjoyable of all of my magazine jobs… the Editor made me feel that on her magazine everything was possible,” a feeling she had not experienced in previous work with magazines. www.adcglobal.org/archive/hof/1975/?id=282c, http://library.rit.edu/gda/designer/cipe-pineles, http://books.google.com/books?id=PlWHuLsX0nEC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false. (Please notice other races are cited on the first chapters and then the influence of the Japanese Ukiyo-e and definitely in the last four chapters the mix is slightly better.). Pineles was considered by many to be the perfect art director, affording the artists she worked with great freedom. 2018. She struggled to find work just being a woman, and also as an artist. Accessed 28 Mar. Cipe Pineles lived from 1908-1991. I wanted to dig deeper into her life and her influences and how she got her start. Pineles and Valentine also did extremely influential work with Charm Magazine. Cipe Pineles, 1996 AIGA Medalist, was the first autonomous woman art director of a mass-market American publication ( Glamour ) and the first woman asked to join the all-male New York Art Directors Club and later its Hall of Fame. MacDonald stated in their article in Eye Magazine that “Employers were reluctant to put her in the artists’ ‘bullpen’, where she might inhibit the crude jokes of the bulls.” Because of this sexism in Pineles world, it was only when she got with a small group of likeminded European designers who had immigrated to New York just like her, that she began to flourish. Cipe was not the first female graphic designer in America, but she was the first one that began to receive the recognition that she deserved. I feel like her name is kind of forgotten by people (including myself), but her work – well, everyone knows it. Some of them (both male and female) are repeated on two or more chapters, but I did not remove them. Together she, Valentine, and the editors created a source of information that didn’t simply hold superficial information about fashion and makeup, but delved into current events, relationship advice, and had practical fashion and makeup tips(Scotford, pg 54). Pineles was born in Vienna, Austria June 23 1908, to Hillel and Bertha Pineles. Cipe came with her mom and sisters to Brooklyn, New York shortly after Sam. There were many calls this week to write about! I wanted to take a closer look at Cipe Pineles because I feel like her work is extremely interesting and pretty brilliant. In that five years experience working with Agha, she was introduced to the world of fashion editorial, photography, typeface, and color interaction. Scotford, Martha. She had to participate in grunt work in order to earn her keep. As an example the use of The New Typography with current immigration in US and various women’s issues resonated in my mind. MacDonald, Vici. After three years at Pratt she began her career search. 2018. Pineles found this condescending and did just the opposite. Only with the Russian Invasion of the Bolshevik, were the Pineles pushed out of Poland back to Vienna. Since I am referring to the books, I found more consistent to use the “Study Guides” supplied by the publisher of our text book and to count female and male people listed as key contributors to each chapter. A turning point in her career came when she Pineles attended a party of Contempora’s Director of Design, Leslie Foster Nast. She recovered, continued work with Glamour a couple months later, but quit because of conflicts with Aghas, and Nast’s recent replacements(Scotford, p.51). She is also credited with the innovation of using fine artists to illustrate mass-market publications. Today, women make up around half of the graphic design profession. “Age of Information, The New York School, Charm (Magazine).” History Graphic Design, historygraphicdesign.com. Sep 27, 2012 - Explore Lora Morgenstern's board "Cipe Pineles", followed by 663 people on Pinterest. Accessed 1 Apr. To illustrate my point, the contributions of Cipe Pineles went far beyond innovative ways to illustrate mass-market magazines. They were a dynamic power couple, but living through wartime, struggling to create a family, and the lack of fulfillment in her career with Glamour kept building up a feeling of doom. This gave her partial autonomy to make decisions on layouts, art, and photographers/photography that would be implemented. Here she attended High School with a social and enthusiastic outlook on learning. Her goals in School were to become well liked by the people that she met, while learning art. Contempora tackled everything from world fairs, ceramics, graphics, textiles, to coffeepots. But when Cipe Pineles was looking for her first design job, prospective employers were interested in her portfolio—until they learned that the unusual first name belonged to a woman. Agha taught her to be playful with her work, and to be innovative through experimentation. It seems to me that history is relative to the perspective of the author. She was the second of an eventual 3 daughters that were born. Agha, who oversaw the editing of Vogue, Vanity Fair, and House & Garden. She promoted other women while also creating some of the most unique covers by commissioning female illustrators, fine artists, and photographers in order to defiantly express refinement (“About Cipe”). 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