"Josephine in Banana Skirt"

Paul Colin: Le Tumulte Noir / Black Thunder series 1927

Paul Colin's iconic poster art played a crucial role in launching Josephine Baker's career, particularly through his work for La revue Nègre. Colin's bold, energetic Art Deco style captured the excitement of Baker's performances and helped introduce jazz and African-inspired dance to Parisian audiences. His art, including the Le Tumulte Noir series, became synonymous with Baker and the Jazz Age in Paris.  For Baker, Colin was more than just an artist; he was a devoted supporter who introduced her to Parisian society and helped shape her career

19 11/16 x 27 7/17 (50.006cm x 69.63cm)

1995 Offset Print on Rives archival paper

Signed in the plate

Printed in France, ADAGP 1995 

the acronym ADAGP refers to the French copyright society of Authors, Designers, and Composers in Paris, France. 

In 1995, ADAGP was active in managing the rights of artists and their works, including licensing for reproductions, exhibitions, and other uses.

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Le Tumulte Noir:

Colin's portfolio of 45 lithographs, Le Tumulte Noir, documented the music and dance of La Revue Nègre, further solidifying his association with Baker and the era's vibrant artistic scene

La Revue Nègre:

Colin's poster for this 1925 show, which featured Baker, was a major breakthrough for both artists. The poster, showcasing Baker in a tight white dress with her hair slicked back, is considered a masterpiece of Art Deco

Freda Josephine Baker, née McDonald (1906 -1975):

An American and French dancer, singer, and actress. Her career was centered primarily in Europe, mostly in France. She was the first Black woman to star in a major motion picture, the 1927 French silent film Siren of the Tropics. It was at the Folies Bergère music hall, one of the most popular of the era, that Baker’s career would reach a major turning point. 

In a performance called La Folie du Jour, Baker danced wearing little more than a skirt made of 16 bananas. The show was wildly popular with Parisian audiences and Baker was soon among the most popular and highest-paid performers in Europe, having the admiration of cultural figures like Pablo Picasso, Ernest Hemingway and EE Cummings, earning herself nicknames like “Black Venus” and “Black Pearl.” 

Baker received more than 1,000 marriage proposals. Capitalizing on this success, Baker sang professionally for the first time in 1930, and several years later landed film roles as a singer in Zou-Zou and Princesse Tam-Tam. The money she earned from her performances soon allowed her to purchase an estate in Castelnaud-Fayrac, in the southwest of France. She named the estate Les Milandes and soon paid to move her family there from St. Louis.

In 1936, riding the wave of popularity she was enjoying in France, Baker returned to the United States to perform in the Ziegfeld Follies, hoping to establish herself as a performer in her home country as well. However, she was met with a generally hostile, racist reaction and quickly returned to France. Upon her return, Baker married French industrialist Jean Lion and obtained citizenship from the country that had embraced her as one of its own.

When World War II erupted later that year, Baker worked for the Red Cross during the occupation of France. As a member of the Free French forces, she also entertained troops in both Africa and the Middle East. Perhaps most importantly, however, Baker did work for the French Resistance, at times smuggling messages hidden in her sheet music and even in her underwear. For these efforts, at the war’s end, Baker was awarded both the Croix de Guerre and the Legion of Honour with the rosette of the Resistance, two of France’s highest military honors.

Paul Colin (1892-1985):

One of France's greatest poster artists, was born on June 27, 1892 in Nancy, France.  He became a student of Eugene Valin and Victor Prouve.  His poster for the Revue Negre helped launched not only his career, but also the career of actress Josephine Baker.  Later, he designed a number of posters for her performances.  For over forty years, he worked in the theatre, creating almost 2,000 posters and hundreds of stage sets.

His posters were highly stylized with themes of performing arts, theatre, studio art, and dance.  His bold images, strong clean lines and brilliant colors mark him as a master of visual communication