1883 -1953 · Railway poster, tourism and Art Deco geometry

Roger Broders transforms the trip into an immediate destination: railway, mountains, sea and sporty silhouette come together in flat areas that make you want to leave.

Born in Paris in 1883, Roger Broders became one of the great creators of French tourist posters between the wars. His name remains closely linked to the Paris-Lyon-Mediterranean Railway Company, the PLM, which serves the Alps, the Côte d'Azur, the Rhône valley and North Africa. The company financed some of his trips so that he could directly observe stations, reliefs, monuments and activities. Between 1922 and 1932, Broders devoted himself intensely to the poster and produced a relatively narrow corpus, less than a hundred compositions, but of remarkable coherence. Between 1922 and 1932, Broders devoted himself intensely to the poster and produced a relatively narrow corpus, less than a hundred compositions, but of remarkable coherence. He simplified landscape and architecture into large, colorful plans, using a very foreground close to give depth and often chooses an elegant silhouette - skier, swimmer, traveler or motorist - as entry point. The text and name of the place remain readable without interrupting construction. From the Alps to Antibes, from Soissons to Algiers, each destination receives its own graphic identity. Broders also illustrates books, brochures and advertising documents, but its PLM posters remain the most accomplished expression of tourism that has become modern, fast and desirable. The "Roger Broders" selection also offers its own books, brochures and advertising documents, but its PLM posters remain the most accomplished expression of tourism that has become modern, fast and desirable. The "Roger Broders" selection also offers its own expression of tourism that has become modern, fast and desirable. The "Roger Broders" selection also offers its own expression of tourism that has become modern, fast and desirable. The "Roger Broders" selection also offers its own route on this subject. Its reading favors figures.

Broders does not describe the entire landscape: he chooses the angle, color and gesture that are enough to transform a place into a promise of travel.