Roger Broders (1883-1953) stands as one of the most celebrated and influential French poster artists of the Art Deco era. His vibrant and stylish travel posters, primarily created for the Paris-Lyon-Méditerranée Railway Company (PLM), not only promoted the burgeoning tourism industry of the early 20th century but also encapsulated the glamour, optimism, and aesthetic sensibilities of the interwar period. Broders' work is characterized by its bold use of color, simplified forms, dynamic compositions, and an aspirational vision of leisure and escape, making his posters highly sought after by collectors and admired as quintessential examples of Art Deco graphic design.
Early Life and Artistic Formation
Born in Paris in 1883, Roger Broders initially pursued a career as a painter. Like many artists of his generation, he would have been exposed to the rich artistic milieu of Paris, a city still reverberating with the influences of Post-Impressionism and the burgeoning modern art movements. While details of his formal artistic training are not extensively documented, his later work demonstrates a sophisticated understanding of composition, color theory, and human anatomy, albeit stylized.
The turn of the 20th century was a period of immense change in the art world. The legacy of artists like Henri de Toulouse-Lautrec, who had elevated the poster to an art form in the 1890s with his dynamic depictions of Parisian nightlife, was profound. Similarly, the decorative elegance of Art Nouveau, championed by figures such as Alphonse Mucha and Jules Chéret (often called the "father of the modern poster"), had established the poster as a powerful medium for commercial communication and artistic expression. Broders, coming of age in this environment, would have absorbed these influences, even as he developed his own distinct voice that would align with the subsequent Art Deco movement. His transition from painting to graphic design and illustration marked a pivotal point in his career, leading him to the medium where he would achieve lasting fame.
The PLM Partnership: A Golden Age of Travel Promotion

The most significant phase of Roger Broders' career began in 1922 when he became an official poster designer for the Paris-Lyon-Méditerranée Railway Company (PLM). This collaboration, which lasted until 1932, was incredibly prolific, resulting in over 100 distinct poster designs. The PLM was a major railway network in France, connecting Paris to the French Riviera (Côte d'Azur), the French Alps, and various other picturesque destinations in the southeast of France and beyond, including routes that facilitated travel towards North Africa.
During the 1920s and 1930s, railway travel was the epitome of modern, comfortable, and often luxurious transportation. The PLM, like other railway companies, understood the power of visual advertising to entice a growing middle and upper class, eager for leisure and new experiences. Broders' posters were instrumental in crafting an alluring image of these destinations. He didn't just depict landscapes; he sold a dream of sophistication, adventure, and idyllic escape. His work for PLM became synonymous with the allure of destinations like Nice, Cannes, Monte Carlo, Chamonix, and Antibes. This period cemented his reputation as a master of the travel poster.
Artistic Style: The Essence of Art Deco
Roger Broders' artistic style is quintessentially Art Deco. This movement, which flourished internationally during the 1920s and 1930s, was characterized by rich ornamentation, geometric forms, symmetry, bold colors, and a celebration of modernity, speed, and luxury. Broders masterfully adapted these principles to the medium of the poster.
His compositions are marked by bold, simplified lines and flat planes of vibrant color. He often employed strong contrasts to create visual impact, making his posters eye-catching from a distance. Perspective, while present and often quite clear in his depiction of mountains, seascapes, or architectural elements, was frequently stylized to enhance the overall design rather than adhere to strict realism.
A hallmark of Broders' work is his depiction of elegant, elongated human figures. These figures, often clad in the fashionable attire of the era – chic beachwear, stylish tennis outfits, or sophisticated evening wear – exude an air of leisure and affluence. They are not merely incidental; they are integral to the aspirational narrative of the poster, inviting the viewer to imagine themselves in these glamorous settings. Think of the stylish figures in the work of fashion illustrators of the time, or even the sleek, stylized figures in the paintings of Art Deco artists like Tamara de Lempicka, though Broders' figures are generally more wholesome and less overtly sensual.

The typography in his posters was also carefully considered, often integrated into the overall design with Art Deco lettering that complemented the imagery. He understood that the text was not just informational but a visual element contributing to the poster's aesthetic coherence.
Key Themes and Subject Matter
The primary themes in Broders' oeuvre revolve around travel, leisure, and the beauty of French landscapes. His posters can be broadly categorized:
The French Riviera (Côte d'Azur): Many of his most iconic posters celebrate the sun-drenched beaches, azure waters, and glamorous resorts of the South of France. He captured the vibrant social scene, the leisurely pace of life, and the stunning natural beauty of places like Nice, Cannes, Antibes, and Menton. These posters often feature fashionable figures sunbathing, swimming, or enjoying seaside promenades.
The French Alps: Broders was equally adept at portraying the majestic beauty and recreational opportunities of the Alps. His ski posters for resorts like Chamonix or Saint-Pierre-de-Chartreuse are dynamic and exhilarating, showcasing skiers in action against dramatic mountain backdrops. These works emphasize the crisp air, the pristine snow, and the thrill of winter sports.
Other Destinations and General Travel: Beyond the Riviera and the Alps, Broders also created posters for other regions and for the general allure of travel with PLM. These might highlight specific towns, spas like Vichy, or even the journey itself as an experience.
His work consistently evoked a sense of optimism and escape, perfectly aligning with the post-World War I desire for pleasure and a return to normalcy, which characterized much of the Roaring Twenties. The luxury and leisure he depicted were aspirational for many, contributing to the growing tourism industry.
Notable Works: A Visual Journey
Several of Roger Broders' posters have become iconic representations of Art Deco design and the golden age of travel.
_La Côte d'Azur_ (1928): This is perhaps one of his most famous works. It often features a panoramic view of the coastline, with stylized palm trees, elegant figures, and the sparkling Mediterranean Sea. The colors are typically bright and inviting, capturing the essence of a sun-soaked paradise. One version prominently features a stylish woman with a parasol looking out over the bay, embodying the leisurely elegance of the Riviera.
_Monte-Carlo_ (1930): Broders created several posters for Monte Carlo, the epitome of glamour and luxury. These posters often depict the casino, luxury cars, and well-dressed individuals, emphasizing the sophisticated and exciting atmosphere of the principality. One notable design shows a couple in evening wear overlooking the harbor, with fireworks illuminating the night sky, perfectly capturing the allure of Monte Carlo's nightlife. Another, Monte Carlo Country Club, highlights the sporting elegance of tennis.
_Grasse_ (1930): Known as the perfume capital of the world, Grasse was another destination promoted by Broders. His poster for Grasse might evoke the floral landscapes and the refined products of the region, often with a sense of classic elegance.
_Marseille: Porte de l'Afrique du Nord_ (1929): This poster is interesting as it highlights Marseille's role as a gateway to France's North African colonies. The imagery might include ships, bustling port scenes, and perhaps even stylized depictions of North African architecture or figures, suggesting exotic destinations accessible via Marseille. The reference to the Taq Kasr (Arch of Ctesiphon in modern Iraq) in some interpretations of this poster, despite its geographical inaccuracy for North Africa, points to a broader evocation of the "Orient" and exoticism popular at the time.
_Vichy Comité Des Fêtes_ (1928): This poster captures the lively atmosphere of Vichy, a spa town known for its festivals and social life. It often depicts elegant figures enjoying outdoor cafes or musical events, reflecting the Jazz Age spirit.
_St Pierre de Chartreuse | Les Sports d’Hiver_: An excellent example of his ski posters, this work typically shows dynamic figures skiing against a backdrop of snow-covered mountains, conveying the energy and beauty of winter sports in the Alps.
_La Plage de Calvi, Corse_ (1928): Promoting the Corsican beach of Calvi, this poster would showcase its unique beauty, perhaps with its distinctive citadel in the background, inviting travelers to explore the island's charms.
_Été sur la Mer_ (1930): A more general title ("Summer on the Sea"), this poster would encapsulate the joys of coastal holidays, likely featuring bright sunshine, blue waters, and leisurely activities.
These works, among many others, demonstrate Broders' ability to distill the essence of a location into a compelling and visually stunning image.
The Creative Process and Authenticity
An interesting aspect of Broders' working method, and indeed that of many commercial artists of his time, is the question of direct experience versus secondary sources. There is some speculation that Broders may not have personally visited every single location he depicted in his posters. For instance, the aforementioned inclusion of an ancient Mesopotamian arch in a poster for Marseille as a gateway to North Africa suggests a reliance on available imagery or a symbolic rather than literal approach.
It was common for poster artists to work from photographs, postcards, or even descriptions provided by the commissioning company. The primary goal was to create an enticing and effective advertisement, and artistic license was often employed. This practice does not diminish the artistic merit or impact of his work. Broders' genius lay in his ability to synthesize information and visual cues into a cohesive and captivating design that resonated with the public's desires and aspirations. His posters were not meant to be documentary records but romanticized visions that fueled the imagination.
Artistic Context and Contemporaries
Roger Broders was working during a vibrant period for poster art, often referred to as its "Golden Age." He was part of a cohort of exceptionally talented graphic designers who shaped the visual culture of the era.
One of the most prominent figures was A.M. Cassandre (Adolphe Mouron Cassandre), whose posters for railways (like the Nord Express) and shipping lines (like L'Atlantique) are masterpieces of Art Deco design. Cassandre's style was often more monumental and geometric, influenced by Cubism and Purism, with a powerful, almost architectural quality. While both Broders and Cassandre epitomized Art Deco, Broders' work often had a softer, more lyrical, and picturesque quality, focusing on the leisurely human experience within the landscape.
Other notable contemporaries in French poster art include:
Paul Colin, famous for his posters for Josephine Baker and the Revue Nègre, capturing the dynamism of the Jazz Age.
Jean Carlu, whose work also embraced Art Deco principles, often with a more abstract and symbolic approach.
Charles Loupot, another key figure who, like Cassandre, evolved through Art Deco and beyond, known for his sophisticated advertising campaigns.
Leonetto Cappiello, an earlier master whose bold, character-driven style (often featuring a striking figure against a dark background) bridged Art Nouveau and early Art Deco, influencing many who followed.
Beyond poster art, the spirit of Art Deco permeated all aspects of design. Artists like René Lalique in glass and jewelry, Émile-Jacques Ruhlmann in furniture, and painters like Jean Dupas, known for his elegant murals, all contributed to this pervasive aesthetic. Broders' work can be seen as part of this broader cultural movement that celebrated modern life, craftsmanship, and decorative richness.
There's also a potential, though less direct, connection to the spirit captured by American expatriate artists in France during the Jazz Age, such as Gerald Murphy. Murphy, a painter and a central figure in a social circle that included F. Scott Fitzgerald and Ernest Hemingway, created works with a clean, modern aesthetic. While Broders' style was distinctly his own, the overall atmosphere of sophisticated leisure and modernity that he conveyed in his Riviera posters resonates with the lifestyle and artistic currents of that expatriate scene. The vibrant depictions of the Riviera by contemporary painters like Raoul Dufy, with their bright colors and joyful scenes, also share a kindred spirit with Broders' posters, though Dufy's medium and approach were different.
Legacy, Market Value, and Collecting
Roger Broders ceased his prolific poster work for PLM around 1932, and his later career is less documented in the realm of poster art. However, the body of work he created in that decade secured his lasting legacy. His posters are now highly prized by collectors of Art Deco art, vintage posters, and memorabilia related to the golden age of travel.
Original Broders posters command significant prices at auction and in galleries. For example:
His 1930 Monte Carlo Country Club poster sold for $10,000 in 2024.
A 1929 Marseille / Porte de l'Afrique du Nord poster was estimated at $5,000-$7,500 at Swann Galleries.
An Antibes poster fetched £7,200 at a Christie's auction in 2006.
The value of these posters is driven by several factors: their artistic quality, their rarity (original print runs were not unlimited, and many have been lost or damaged over time), their historical significance as documents of a particular era, and their enduring aesthetic appeal. They are frequently exhibited in museums and featured in publications on Art Deco and graphic design history. For instance, his works have been part of exhibitions such as a French lithography art show at the China-Europe center, highlighting their international recognition.
The continued demand for Broders' work underscores its timeless appeal. His posters evoke a sense of nostalgia for an era of elegance and discovery, and their sophisticated designs remain relevant and admired in contemporary interior decor and graphic design.
Conclusion: An Enduring Vision of Glamour
Roger Broders was more than just a commercial illustrator; he was a visual poet of the Art Deco age. Through his work for the PLM railway, he crafted an enduring vision of France's most beautiful destinations, imbuing them with an aura of glamour, excitement, and sophisticated leisure. His bold use of color, elegant figures, and dynamic compositions perfectly captured the spirit of his time, making his travel posters iconic examples of 20th-century graphic design.
His ability to translate the allure of travel into compelling visual narratives contributed significantly to the burgeoning tourism industry and left an indelible mark on the history of poster art. Today, Roger Broders' posters are not merely historical artifacts; they are celebrated works of art that continue to inspire and captivate, transporting viewers to a bygone era of elegance and adventure. His legacy is a testament to the power of design to shape perceptions and create lasting cultural icons.