What Was The First Gay Ad?
Today it is estimated that the buying power of the LGBTQ+ community is almost $1 trillion ($917 billion per a study by Witeck Communications in 2016), which is why this month you see corporate America flooding every imaginable product and brand logo with rainbows, trying to get our attention and our hard earned gay dollars.
But back in the 1960s, and before, we were largely invisible and so was any representation of us in advertising. Arguably most ads featuring homo-erotic depictions of the male physique were created and geared towards this closeted gay consumer. The male camaraderie found within the armed services during World War Two became a common element in these early depictions of corporate ads that began appearing in mainstream magazines.
By the late 1950s and into the 1960s more “tongue in cheek” ad copy began appearing, where the line between suggestive and explicit was stretched so that only the most naive would not be aware of the connotations.
Today’s ads don’t have to feature rainbows or campy winks to the consumer about male “bonding,” instead they can show the wide range of same-sex attraction in a favorable manner that accentuates both their product and our community.
https://instinctmagazine.com/what-was-the-first-gay-ad/
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Hat tip, The Boys of Fairytown
Leyendecker in 1895
Born: Joseph Christian Leyendecker; March 23, 1874; Montabaur, Rhine Province, German Empire
Died: July 25, 1951 (aged 77); New Rochelle, New York, U.S.
Joseph Christian Leyendecker (March 23, 1874 – July 25, 1951) was a German-American illustrator. He is considered to be one of the preeminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post. Between 1896 and 1950, Leyendecker painted more than 400 magazine covers. During the Golden Age of American Illustration, for The Saturday Evening Post alone, J. C. Leyendecker produced 322 covers, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication. Leyendecker "virtually invented the whole idea of modern magazine design."
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Early life
Joseph Christian Leyendecker ('J.C.' or 'Joe') was born on March 23, 1874, at Montabaur in western Germany, a tiny village 18 km east of the Rhine, to Peter Leyendecker (1838–1916) and Elizabeth Ortseifen Leyendecker (1845–1905). Joseph was the first-born son, and his brother Francis Xavier was born three years later. A sister, Mary Augusta, the third and last child, arrived after the family emigrated to America.
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After studying drawing and anatomy under John H. Vanderpoel at the Chicago Art Institute, J. C. and younger brother Frank enrolled in the Académie Julian in Paris for a year, where they were exposed to the work of Toulouse-Lautrec, Jules Chéret, and also Alphonse Mucha, a leader in the French Art Nouveau movement.
Career
In 1899, the Leyendecker brothers returned to America and set up residence in an apartment in Hyde Park, Illinois. They had a studio in Chicago's Fine Arts Building at 410 South Michigan Ave. On May 20 of that year, Joe received his first commission for a Saturday Evening Post cover – the beginning of his forty-four-year association with the most popular magazine in the country. Ultimately he would produce 322 covers for the magazine, introducing many iconic visual images and traditions including the New Year's Baby, the pudgy red-garbed rendition of Santa Claus, flowers for Mother's Day, and firecrackers on the 4th of July.
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Personal life
Many biographers have speculated on J. C. Leyendecker's sexuality, often attributing the apparent homoerotic aesthetic of his work to a homosexual identity. Without question, Leyendecker excelled at depicting male homosocial spaces (locker rooms, clubhouses, tailoring shops) and extraordinarily handsome young men in curious poses or exchanging glances. Leyendecker never married, and he lived with another man, Charles Beach, for much of his adult life. Beach was the original model for the famous Arrow Collar Man and is assumed to have been his lover.
While Beach often organized the famous gala-like social gatherings that Leyendecker was known for in the 1920s, he apparently also contributed largely to Leyendecker's social isolation in his later years. Beach reportedly forbade outside contact with the artist in the last months of his life.
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Weapons for Liberty – U.S.A. Bonds. An appeal to youth to sell war bonds through a scene of a Boy Scout lifting a sword toward Lady Liberty, by Leyendecker.
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Legacy
Leyendecker's Beat-up Boy, Football Hero, which appeared on the cover of The Saturday Evening Post on November 21, 1914, sold for $4.12 million on May 7, 2021. The previous world record for a J. C. Leyendecker original was set in December 2020, when Sotheby's sold his 1930 work Carousel Ride for $516,100.
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Gallery
Arrow Shirt ad from the 1920s
Drawing from 1913
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See also
Frank Xavier Leyendecker
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The Oarsmen of J.C. Leyendecker: Homeric or Homoerotic?
A 1932 edition of the American Saturday Evening Post magazine. Strangely, the conservative, anti-New Deal, and middle class family orientated publication had what is (to most modern eyes at least) a sexualised ‘gay’ image of the U.S. Olympic Eight on its cover, painted by the illustrator, J.C. ‘Joe’ Leyendecker. This was not the only time that Leyendecker put semi-naked men on a pedestal.
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A sporting ‘homosocial space’ as depicted by Leyendecker.
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Leyendecker’s illustration for a magazine cover for Thanksgiving 1928 (many American Football games are traditionally played on that holiday).
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