Charles Swanson

Biography Ray Swanson (1937-2004) A member of the Cowboy Artists of America and the American Watercolor Society, Ray Swanson was known for his Southwest Native American subject--the Navajo, Hopi, Zuni and Apache Indians. He was especially known for depicting children and smaller animals belonging to these tribes and for the beauty of their traditional costumes. Swanson was raised in rural South Dakota and settled in Carefree, Arizona. He first visited a Navajo Reservation in Arizona in the early 1960s, and from that time, incorporated Indian figures and genre into his subject matter. He attended a one-room schoolhouse in South Dakota and was early recognized for his art talent. His father was killed when Ray was young, and the family moved to California where he enrolled at the Northrop Institute of Technology in Los Angeles. He worked full time as a draftsman and studied aero-nautical engineering. For six years, he was a civil engineer in Redlands, California, and during that time married Beverly, his high school sweetheart. He also began to paint, encouraged by his wife and friends, and he displayed his work at the curio shop he and Beverly opened in Oak Glen near Los Angeles. Gallery owners in New Mexico and California began carrying his work, and he became a full-time painter. In 1973, he and Beverly sold the shop and moved to Arizona where he continued to paint the Native Americans. He also painted some landscapes and seascapes in both watercolor and oil and traveled widely in search of subject matter beyond Arizona. In 1979, he was named Arizona Artist of the Year and in 1986 was voted into membership of the Cowboy Artists of America, which he served as president at the time of his death in 2004. He was also a signature member of the American Watercolor Society. Following are excerpts from the obituary of the artist by Dolores Tropiano, The Arizona Republic, December 24, 2004. "Ray Swanson, president of the Cowboy Artists of America and one of the most poignant painters of Arizona Indians, was remembered this week by artists, fans and the people whose images covered his canvasses. The Carefree resident died Dec. 17 of pneumonia after contracting multiple myeloma, a cancer of the blood plasma cells. He was 67. 'Ray touched many lives, including people who couldn't afford his original paintings, but who would stand in line for an hour to get his autograph at the cowboy (artists) show,' said Steve Todd, a Tempe art collector. In October, Swanson's painting Women of the "Dineh formed a huge banner that hung outside the Phoenix Art Museum, promoting the Cowboy Artists of America's 39th-annual exhibition. But Swanson never saw the banner or the show. By then, he already was very sick. "It was one of the last paintings he ever created, and it hung outside the museum. He never got to see it, but it was a fitting tribute," said Todd, chairman of this year's

Postmodern design was a short-lived movement that manifested itself chiefly in Italy and the United States in the early 1980s. The characteristics of vintage postmodern furniture and other postmodern objects and decor for the home included loud-patterned, usually plastic surfaces; strange proportions, vibrant colors and weird angles; and a vague-at-best relationship between form and function.

ORIGINS OF POSTMODERN FURNITURE DESIGN

• Emerges during the 1960s; popularity explodes during the ’80s
• A reaction to prevailing conventions of modernism by mainly American architects
• Architect Robert Venturi critiques modern architecture in his Complexity and Contradiction in Architecture (1966)
• Theorist Charles Jencks, who championed architecture filled with allusions and cultural references, writes The Language of Post-Modern Architecture (1977)
• Italian design collective the Memphis Group, also known as Memphis Milano, meets for the first time (1980) 
• Memphis collective debuts more than 50 objects and furnishings at Salone del Milano (1981)
• Interest in style declines, minimalism gains steam

CHARACTERISTICS OF POSTMODERN FURNITURE DESIGN

• Dizzying graphic patterns and an emphasis on loud, off-the-wall colors
• Use of plastic and laminates, glass, metal and marble; lacquered and painted wood 
• Unconventional proportions and abundant ornamentation
• Playful nods to Art Deco and Pop art

POSTMODERN FURNITURE DESIGNERS TO KNOW

• Ettore Sottsass
• Robert Venturi
• Alessandro Mendini
• Michele de Lucchi
• Michael Graves
• Nathalie du Pasquier

VINTAGE POSTMODERN FURNITURE ON 1STDIBS

Critics derided postmodern design as a grandstanding bid for attention and nothing of consequence. Decades later, the fact that postmodernism still has the power to provoke thoughts, along with other reactions, proves they were not entirely correct.

Postmodern design began as an architectural critique. Starting in the 1960s, a small cadre of mainly American architects began to argue that modernism, once high-minded and even noble in its goals, had become stale, stagnant and blandly corporate. Later, in Milan, a cohort of creators led by Ettore Sottsass and Alessandro Mendini — a onetime mentor to Sottsass and a key figure in the Italian Radical movement — brought the discussion to bear on design.

Sottsass, an industrial designer, philosopher and provocateur, gathered a core group of young designers into a collective in 1980 they called Memphis. Members of the Memphis Group,  which would come to include Martine Bedin, Michael Graves, Marco Zanini, Shiro Kuramata, Michele de Lucchi and Matteo Thun, saw design as a means of communication, and they wanted it to shout. That it did: The first Memphis collection appeared in 1981 in Milan and broke all the modernist taboos, embracing irony, kitsch, wild ornamentation and bad taste.

Memphis works remain icons of postmodernism: the Sottsass Casablanca bookcase, with its leopard-print plastic veneer; de Lucchi’s First chair, which has been described as having the look of an electronics component; Martine Bedin’s Super lamp: a pull-toy puppy on a power-cord leash. Even though it preceded the Memphis Group’s formal launch, Sottsass’s iconic Ultrafragola mirror — in its conspicuously curved plastic shell with radical pops of pink neon — proves striking in any space and embodies many of the collective’s postmodern ideals. 

After the initial Memphis show caused an uproar, the postmodern movement within furniture and interior design quickly took off in America. (Memphis fell out of fashion when the Reagan era gave way to cool 1990’s minimalism.) The architect Robert Venturi had by then already begun a series of plywood chairs for Knoll Inc., with beefy, exaggerated silhouettes of traditional styles such as Queen Anne and Chippendale. In 1982, the new firm Swid Powell enlisted a group of top American architects, including Frank Gehry, Richard Meier, Stanley Tigerman and Venturi to create postmodern tableware in silver, ceramic and glass.

On 1stDibs, the vintage postmodern furniture collection includes chairs, coffee tables, sofas, decorative objects, table lamps and more.

Vintage desks and writing tables span centuries of design. The writing table came first, a simple surface built for correspondence, while the drawered desk followed as record-keeping at home and in the office grew more demanding.

Styles to Know

Any desk at least 20 years old falls under this broader vintage category. If you want a tapered-leg, mid-century look specifically, browse mid-century modern desks; Louis XVI and Art Deco secretary desks bridge the writing-table and desk forms. A vintage table lamp adds task lighting to either.

How to Choose the Right Vintage Piece

Writing tables often carry little to no storage of their own, so a separate file cabinet or desk organizer may be worth planning for, alongside a close look at the surface dimensions against the space available. Each piece comes from a vetted 1stDibs seller, with era, designer and condition detailed, and every purchase is covered by the 1stDibs Promise.