The modern poster

Stuart Wrede

Author
Wrede, Stuart

Date
1988

Publisher

The Museum of Modern Art:

Distributed by New York Graphic
Society Books/Little, Brown and Co.

ISBN

0870705709, 0870705717

Exhibition URL

www.moma.org/calendar/exhibitions/1804

The Museum of Modern Art's exhibition

history—from our founding in 1929 to the
present—is available online. It includes
exhibition catalogues, primary documents,
installation views, and an index of
participating artists.

MoMA © 2017 The Museum of Modern Art

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The Modern Poster
The Modern Poster

STUART WREDE

THE MUSEUM OF MODERN ART, NEW YORK

Distributed by New York Graphic Society Books / Little, Brown and Company, Boston
This publication has been made possi
ble by a generous grant from The May
DepartmentStores Company
The exhibition The ModernPoster
has been sponsored by The May
Department Stores Companyand
the National Endowment for the Arts

Publishedon the occasionof the exhibition Broido,3; Courtesy ElaineLustig Cohen,

TheModemPoster,June 6-September 6, 37; Rita Fernandez,1, 4, 5, 6, 9, 11,12, 13,
1988,organizedby Stuart Wrede, Director, 16, 17, 18, 19, 20, 22, 25, 26, 27, 28, 29, 31,
Departmentof Architectureand Design, 32, 36; Kate Keller, 21; The Libraryof
The Museumof Modern Art, New York Congress, 2; James Mathews, 8, 10, 35;
Andre Morain, 34; RolfPetersen, 24; The
Copyright© 1988by The Museumof Pierpont MorganLibrary,7.
Modern Art
All rights reserved Edited by Harriet SchoenholzBee
Libraryof Congress Catalogue Designedby Steven Schoenfelder
Card Number88-060744 Productionby Tim McDonough
ClothboundISBN 0-87070-570-9 Typesetby TrufontTypographersInc.,
PaperboundISBN 0-87070-571-7 Hicksville,N.Y.
Colorseparationsby ReprocolorLlovet,
The color plates in this volumewere photo Barcelona
graphedby Kate Keller, ChiefFine Arts Printed and boundby Cayfosa,Barcelona
Photographer,The Museumof Modern Art, Distributedoutside the United States and
and MaliOlatunji,Fine Arts Photographer, Canadaby Thames and HudsonLtd.,
The Museumof Modern Art, with the London
exceptionof plates 214, 162, and 169by
The Museumof Modern Art
DavidAllison,New York.
11West 53 Street
The black-and-whiteillustrationsare cred
New York,New York10019
ited to the followingphotographersand
sources by figurenumber: Courtesy Lucy Printed in Spain

The Museum of Modern Art Library

C O N T E NT s

Foreword by Richard E.Oldenburg 7

Preface and Acknowledgments 8

The Modern Poster by Stuart Wrede 11

Notes 39

Plates 41

Bibliography 255

Index of Illustrations 261

Trustees of The Museum of Modern Art 263

 Foreword

This book is publishedin conjunctionwith the exhibitionThe

ModernPoster, a comprehensiveselectionfromthe Museum's
extensive poster collection.It is the first such presentation
since the exhibitionWordand Image of 1968.Sincethat time,
the graphic design collectionhas more than doubledin size,
reflectingthe continuingadditionof both contemporarywork
and classicexamplesof earlier decades.
We are profoundlygrateful to all the designers and many
friends of the Museum who have given generously to the
collection.We owe a special debt of gratitude to the poster
collection'smost devoted supporter, Leonard A. Lauder,
whose thoughtfulnessand connoisseurshiphave enriched it
immeasurably.
This exhibitionand its accompanyingpublicationwouldnot
have been possible without a major grant from The May
DepartmentStores Company,for whichwe are deeplyappre
ciative.Their support admirablyreflects a continuingcommit
ment in their own programs to high standards of graphic
design. Additionalsupport was providedby the NationalEn
dowmentfor the Arts, for whichwe are also most grateful.
Finally,we owe our thanks to the director of the exhibition
and author of this volume,Stuart Wrede.The task of selecting
some three hundredimages from more than four thousandto
exemplifythe developmentof the modem poster requires a
goodeye and discriminatingjudgment. He has very admirably
appliedthese qualitiesboth to this bookand to the exhibitionit
accompanies.

RichardE. Oldenburg
Director
The Museumof Modem Art

7
 PREFACE AND
Acknowledgments
It is now twenty years since the exhibitionWordand Image, support throughoutthe planningof this project. I am grateful
the first comprehensivepresentationof The Museumof Mod for the enthusiasm and expertise of Sue B. Dom, Deputy
em Art's extensive poster collection, was organized by Directorfor Developmentand PublicAffairs,and LacyDoyle,
MildredConstantine. The accompanyingcatalogue, with an DevelopmentManager,in securingsupportfor the exhibition.
essay by AlanM. Fern, did much to definethe history of the James Snyder, Deputy Director for Planningand Program
mediumand its importantlandmarks,and is now an acknowl Support,andRichardPalmer,Coordinatorof Exhibitions,have
edged classicin the field.Since1968,the Museum'scollection lent their valuable expertise on budgeting and scheduling.
has grownfrom two thousandto over four thousandposters, Jerome Neuner, ProductionManager,has once again,withhis
as works of the interveningyears were acquired,and equally skilledstaff, built a finelycrafted exhibitioninstallation.Fred
important, gaps in the Museum's collectionof posters from Coxenhas done a masterfuljob of supervisingthe framingof
earlierperiodswere filled.A new exhibitionandbookappeared the large number of posters for the exhibition.I am most
to be more than warranted. gratefulto AntoinetteKingand her staffin the Departmentof
This volume,however,does not aspire to be a comprehen Conservation,particularlyKarlBuchberg,RebaFishman,and
sive historicalsurvey but, rather, is an effort to present the Harriet Stratis, for their expert restoration work. I am also
finest examples of the art of the poster created during the appreciativeof the workof other colleaguesat the Museumfor
medium'sapproximatelyone hundredyears of existence.I am, their invaluablecontributionsto the success ofthis endeavorin
of course, only too aware of the gaps still present in the variousareas: PriscillaBarker, LouiseChinn,Jeanne Collins,
Museum's own collectionas well as of the vast amount of EmilyKies, and Jessica Schwartz.
excellentwork that I have not been able to include. I am also grateful to a number of friends, colleagues,and
For assistance in the preparation of the exhibitionThe associates outside the Museum with whom I have discussed
ModemPoster and its accompanyingpublicationI owea major the exhibitionand whohave made manyvaluablesuggestions.
debt to Robert Coates, Study Center Supervisorin the De These includeJack Banning,Robert Brown,IvanChermayeff,
partment of Architectureand Design,whose dedicationto and Elaine Lustig Cohen, Mildred Constantine, James Fraser,
knowledgeof the Museum'sposter collectionhas been invalu Keith Godard, CarolineHightower,Leonard A. Lauder, and
able. He has been a close collaboratoron all aspects of the Susan Reinhold.
exhibition,and his expertise has been essentialto its success. I owe a special debt of gratitude to the members of the
In the Department of Architecture and Design I am also Department of Publicationsand their associates for the suc
gratefulto MatildaMcQuaidfor her carefulresearch on many cess of this volume. I particularly wish to thank Harriet
of the posters and their designers, and for securing photo SchoenholzBee, ManagingEditor,whohas donean invaluable
graphsfor the publication.I am equallygratefulto Christopher job editing the manuscript with her usual skill, humor, and
Mountfor his helpwithresearch andhis assistancethroughout dedication.It has been a great pleasure as well to work with
the preparationof the exhibition,and to Marie-AnneEvansfor Steven Schoenfelder,whose elegant design reinforces the
her assistance in all aspects of this project. quality of the material included in the publication. Tim
The organizationof a large exhibitionrequiresthe collabora McDonough,ProductionManager,has with his usual expert
tionofmanymembersofthe Museum'sstaff. Specialthanksgo eye supervisedthe productionandprintingof the book,whose
to Richard E. Oldenburg, Director of the Museum, for his superb qualityowesmuchto his efforts. I alsothankWilliamP.
Edwards, Deputy Director of AuxiliaryServices, for his en strom, Daniel Starr, Kristin Teegarden, and Maura Walsh.
thusiasm for the project, and Nancy T. Kranz, Manager of This endeavor would not have been possible without the
Promotionand SpecialServices, for her efforts in promoting kindsupport of numerousdesignersandfriendsof the Depart
the book. ment ofArchitectureandDesignwhohavegenerouslydonated
To my colleagueJohn Elderfield,Director of the Depart posters or fundsto purchaseposters for the collectionoverthe
ment of Drawings, go my grateful thanks for reading the years. To allof them I oweparticularthanks. I wouldlikeonce
manuscriptand offeringvaluablesuggestionsand comments. again to express the Museum's and my own gratitude to
Specialthanks are due RichardTooke, Supervisor of Rights Leonard A. Lauder, whose enthusiastic support has been
and Reproductions;Kate Keller, Chief Fine Arts Photogra criticalin expandingand roundingout the collection.I would
pher; and Mali Olatunji, Fine Arts Photographer, for the alsoliketo express my ownthanks to DavidC. FarrellandThe
photographyof over three hundredposters in color.I am most MayDepartmentStores Companyfor their generosity,which
grateful to James Fraser, Director of the Library,Fairleigh has been crucialfor both the exhibitionand the publication.
DickinsonUniversity,MadisonCampus,andhis stafffor bring Finally,I wish to acknowledgemy deep gratitude to Arthur
ing their expertise to the task of producinga bibliographyfor Drexlerfor encouragingme to take on this project. Duringhis
this book; I must take responsibilityfor any of its shortcom thirty years as Directorof the Departmentof Architectureand
ings, as copyfitting exigencies dictated limitations in the Design, the Museum'sposter collectionachievedits present
numberofentries. My thanksgo to Ex Librisfor the loanofthe range and quality.
avant-gardepublicationDe Stijl. Others who have helped in
various ways whom I particularlywish to acknowledgeare Stuart Wrede
MagdalenaDabrowski,Janis Ekdahl, Peter Galassi, Marisa Director
Hill, Clive Phillpot, Rona Roob, Barbara Ross, Alarik Skar- Department of Architectureand Design
 The Modern Poster
"Catalogues,posters, advertisements of all sorts.
Believeme, they containthe poetry of our epoch."
1 —GuillaumeApollinaire,1912

Although posters were not formallyacquired by The advent of new inventionsand techniquesfor productionraised
Museum of Modem Art until 1935,2 its first director, the questionof the appropriateforms for these new objects. A
AlfredH. Barr, Jr., had the mediumin mindfrom the dichotomydevelopedbetween a utilitarianapproachand one
beginning.In 1929,the year of its inauguration,he proposed that sought to imposetraditionaldecorativeforms on the new
that the new museum "would probablyexpand beyond the artifacts. In fact, one might view the evolutionof modem
narrow limits of painting and sculpture in order to include design as the attempt to reconcilethe rupture between func
departments devoted to drawings,prints, and photography, tion and manufacturingtechnique,on the one hand, and form,
typography,the arts of commerceand industry,architecture, on the other, caused by industrialization.
3 stage designing,furniture, and the decorativearts." The mediumof print—or typography—in books, journals,
Todaythe broadrange of the Museum'sprogramis taken for newspapers, posters, broadsides, and advertising was one
granted. Its success tends to obscure the unique charac genre of artifact that proliferated, as the principalmeans of
teristics of the periodin whichthe Museumwas foundedwhen creatingmarkets for the new products.
a reevaluationof Westernartistic sensibilitieswas takingplace The lackof visualstandardswas put into perspectiveby the
in all the arts. Not only was the new art seen as inseparable increased knowledge of cultures of the past; cultural an
fromthe socialand industrialchangesof the day,but there was thropologyand art history became firmly established disci
an unprecedented cross-fertilization among the various plines at this time. Civilizationscame to be judged by the
mediums. artifacts they produced,and the inchoateproductsof the new
Initially,socialand industrialchangesin the nineteenthcen industrial culture were compared unfavorablywith the co
tury had elicitedvery differentreactionsfrom architects and herent artifacts of past cultures.
designers, and fromartists. Reformersin architectureandthe In England,the foundingof the Museumof OrnamentalArt,
appliedarts were the first to try to come to terms with the later the VictoriaandAlbert—the first museumdevotedto the
social, cultural, and formalissues raised by industrialization. appliedand decorativearts—in 1852and the Arts and Crafts
They sought to impose order on the ensuing chaos—on its movementin 1859reflected contemporaryconcern over the
artifacts (includinggraphics)and on its urban growth.Artists, lack of stylistic coherence. WilliamMorris's Arts and Crafts
in contrast, at first ignoredthese issues and took an art-for- movementsought to reviveinterest in the crafts and improve
art's-sakeposition.But then, in the first years of the twentieth the everydayartifacts of the masses. It evincedstrong social
century, it was they who derived a new aesthetic from the concernsabout the alienationof the industriallaborforce, but
apparent chaos of the new industrialand urban environment. its proposals looked to the past, to the Gothic style as an
The evolutionof these contradictoryefforts and their subse aesthetic model, and to the abolitionof industrializationand a
quent convergencein the 1920sset the stage for a modernist return to craft guilds.Moreover,its idealscame to be seen as
synthesis of the arts that, among other things, inspiredthe unrealistic because, among other reasons, they tended to
multifaceted outlook of the Museum's program, with the result in artifacts only the wealthycouldafford.
poster an integralpart of it. Subsequentreformers, whilerecognizingthe inevitabilityof
The industrialrevolution,by shattering familiarpatterns of industrializationlooked to other sources for a model. The
manufacture, generating new artifacts, and making others Belgianartist Henry van de Velde,one of the creators and the
obsolete, forced fundamentalreassessments for design. The chieftheorist of Art Nouveau,lookedto the forms of nature.

li
 Many of the designers of the Deutscher Werkbund, a highly politics. Characteristic of those movements formed before and
influential organization founded in 1907 that sought to raise during the war—Futurism and Dada—was a strong destruc
design standards and bring designers and industry together, tive and subversive element. In the first Manifesto ofFuturism
looked to a simplified classicism for a new order. Only tenta of 1909, the movement's leader Filippo Tommaso Marinetti
tively did they look to the machine itself. The social and declared, "We will bring down the museums, libraries, acad
4 theoretical ideas of these designers stressed a new unified emies of every kind." The Futurists exulted in disruptive
aesthetics which would embrace architecture, the applied tactics and saw war as the hygiene of the world.5The Dadaists
arts, and graphics, and reflect modern culture and means of took a more subversive approach. Ostensibly against art, Dada
production. Their ideas, more than their designs, were to be a sought to undermine it by elevating chance and nonsense as
fundamental contribution to subsequent development. cultural icons. Both movements, having literary origins, also
For artists and poets the problem was quite different. The focused considerable energy on revolutionizing typography.
Western countries had been radically transformed by the in In contrast to Futurism and Dada, whose activities were
dustrial revolution, but they had remained firmly wedded to directed, as often as not, toward the demise of traditional
traditional cultural forms in the arts. By the end of the nine cultural forms, the principal avant-garde movements formed
teenth century the discrepancy between the forms of tradi after the war—de Stijl, Constructivism, and Purism—concen
tional culture and everyday life became increasingly apparent: trated on building a new order. While rejecting Futurism's
art was not drawing its energy and inspiration from its own anarchic side, the more sober but Utopianpostwar avant-garde
epoch. groups embraced its enthusiasm for the machine and the new
Rapid industrialization had fostered the chaotic growth of the industrial city. They did not turn against the machine, although
big city. The reality of this new urban environment was con it had provided the vast mechanical, destructive power of the
stant transformation and random juxtaposition of scale and war, but against the individualism, emotionalism, and roman
diverse elements. To the average eye, accustomed to a tradi ticism they felt had caused it.
tional, harmonious sense of beauty, the new city must have The Dutch artists of de Stijl sought to unite architecture,
appeared an alienating environment. However, to avant-garde painting, typography, and design into an abstract, geometric
poets and artists it was a realm from which they extracted a unity that would harmonize existence. Their impetus came
new aesthetic, much as artists of the seventeenth century had from the painter Piet Mondrian, who had evolved his own
found an order in the natural landscape, which not so long rectilinear, asymmetrical, geometric abstractions from
before had appeared threatening and chaotic. In that context, Cubism. In Russia, Constructivism and Suprematism, also
one important aspect of modern art in its many manifestations influenced by Cubism, provided fundamental formal stimuli for
is the "found" aesthetic of the big city. architecture, the applied arts, and typography during the
The development of a new way of seeing that cultivated the 1920s.
unexpected, chance juxtaposition of images, the viewing of In Paris, Purist painting sought to synthesize the formal
objects out of their familiar contexts, and the layering of innovations of Cubism with the harmony and order of the
disparate images was fundamental to the new aesthetic of the French classical tradition. Its founders, Charles-Edouard
first decades of the twentieth century. The ubiquitous poster Jeanneret (better known as Le Corbusier) and Amedee Ozen-
hoardings themselves were assemblages of diverse images fant, also edited the influential magazine L'Esprit Nouveau,
(figure 1). While many were neatly tended, others consisted of through which they sought to show how developments in
a mixture of old posters partly torn off with new ones pasted engineering, industry, and science were radically changing the
over them. This urban environment undoubtedly contributed conditions of life and forming the new culture.
to the "collage" aesthetic first developed by the Cubists. The new abstract aesthetic that evolved in various forms
While the radical transformation in art first evolved in Paris among the avant-garde art groups in the 1920s coincided with
in the work of individual artists, it was soon appropriated and the aspirations of progressive designers in architecture and the
transformed by a number of avant-garde groups. Prototypical applied arts (some of whom were members of the groups), and
were the Futurists, who sought to expand their activities to all provided them with a new formal language that they had only,
artistic mediums and all aspects of everyday life, including in isolated examples, reached on their own.

12
 The Bauhausplayedthe culminatingand perhaps most vis
iblerole in the 1920sin the effort to consolidateallthe arts of
the modemperiod.Underlyingthe Bauhausideawas a cultural
andeducationalagendathat soughtto combinethe radical,new
abstract formal language of the various avant-garde move
ments with architecture, the applied arts, and industry to
make it an integral part of everydaylife. Under the school's
first director, architect Walter Gropius,the Bauhausbrought
together the leadingartists anddesignersofthe day.Its unique
programcarried the DeutscherWerkbund'sideaofunifyingart
and industry a crucial step further—to the radical formal
innovationsin art as the new source of inspiration. The
Bauhauswas of fundamentalimportancefor Barr in establish
ing the programof The Museumof Modem Art.
It was no coincidencethat the avant-gardeart movements JVRK/SH
had includedarchitectsand designers, and had tried to expand j Williams-
their newfoundvisual languageamong the various fine and TalcumPowder
appliedartistic mediums,nor that these goalshad agreed with
the aspirationsof the reformers in the appliedarts. A basic
impulse had come from the disciplineof art history, which
soughtto documentthe coherenceof the variousarts, fineand
applied,of any given period. It made artists, architects, de
signers, critics, and theoreticiansof the art of the contempo
rary era awareof the historicalimperativefor what was clearly
a new epoch. In this sense, Barr's studies at Princeton,which
stressed the interrelatedness of all the arts, were just as
6 fundamentalfor his conceptionof the Museum.
The poster, a mediumof its time, has alwaysexisted at the
junctionof the fineandappliedarts, cultureandcommerce.As
a hybrid medium it has provided an arena where painting,
drawing,photography,and typographycame together in new
ways, influencingeach other in the process. Its approximately
one-hundred-yearhistory coincideswith that of modem art
itself. Thus, it is not surprisingthat the poster fascinatedBarr
and became an integralpart of the Museum'scollection.The
followingdiscussionwillfocus on the evolutionof the poster Figure 1. Typicalposter hoarding,MetropoleHotel Building,New York,1909.BettmannArchive,New York
itselfas a mediumof expressionand on its relationshipwiththe
other arts represented in the Museum.

Lithography was invented by AloysSenefelder in 1796,

but it was not until the latter part of the nineteenth
century that the art of the poster can be said to have
begun. Jules Cheret is generally credited with initiatingits
developmentand popularization.Aidedby technicaladvances
in colorlithography,whichhe studiedin Englandwhere he also

13
sawlarge, Americanwoodcutcircusposters (figure2), Cheret In contrast, Bonnard'ssubsequent posters, Les PeintresGra-
returned to Paris and graduallychanged the medium. Small veurs and La RevueBlanche (plates 7, 8), developfurther in
letterpress posters andhandbills,sometimeswithaccompany the directionof abstractionandflatness.Workingin bothwitha
ingwoodcutimages,had dominatedthe streets. Cheret'searly lightand dark colorfieldand a highlyambiguousfigure-ground
posters, such as Le Chateau a Totoof 1868(figure3), were a relationship,Bonnard, through subtle abstracted gestures,
noveltyin Paris, althoughthey resembleVictorianillustration. draws out the figuresfrom the flat colorfield.WhileLa Revue
However,it is the evolutionof his style duringthe finaldecades Blanche is the more successful composition,Les Peintres
of the nineteenth century, from Les Girard (plate 1) to the Graveursis fascinatingboth for the roughlyrendered letters
proto-ArtNouveauFolies-Bergere, La LoieFuller (plate2), and and for their positive-negativetransformationas they cross
his technicalinventivenessthat place Cheret in a preeminent from one fieldto the other.
positionin the early emergence of the poster form. Neverthe The posters ofAlphonseMuchahavecometo be seen as the
less, despite his importantinfluenceon subsequentdesigners, essence of Art Nouveau.If there was still a naive gaiety and
Cheret remained tied to the nineteenth-centurytradition of optimism in the work of Cheret, a sense of joy and even
popularillustration,whichhe combinedwithinspirationdrawn innocence in his animated women, there is a languorous,
fromgreat artists of the past such as GiovanniBattistaTiepolo world-wearysophisticationin the women that dominatethe
andJean AntoineWatteau. posters of Mucha (plates 9, 10). Their animated, serpentine
The influenceof Japanese prints (figure4) was decisiveon locks of hair (drawn with lines that are both outline and
the subsequent developmentof the poster. In 1867,when the shadow) have some of the intricacy and richness of Celtic
shogunate—whichhad isolatedJapanfor two centuries—fell, ornament, whichalso inspiredother designers of the period.
Japantook a pavilionat the UniversalExpositionin Paris. The The purpose of manyearly posters was to advertise enter
expositionprovidedthe first opportunityfor the Parisianpublic tainment. In capturingthe spirit of places or events they are
to view Japanese art. Nevertheless, Edouard Manet's small extraordinarydocumentsof popularculture.They alsoquickly
lithographicposter Champfieury-LesChats, done the follow cameto be collectedand displayedfor their ownsakes, poster
ing year and clearlyinspiredby Japanese prints (figures5, 6), exhibitionswere organized, and books devoted to posters
remainedan isolatedexamplefor some time. But by 1890the were published. The first exhibitiondevoted exclusivelyto
influence of Japan on the Post-Impressionistpainters was posters was held in Paris in 1884.Journalsappearedin Paris in
pervasive, as can be seen in the pioneeringposters of Pierre 1897and in Londonin 1898,essentiallyaimedat poster collec
Bonnardand Henri de Toulouse-Lautrec,amongother art of tors. This interest reached Germanylater and coincidedwith
the period. Bonnard'sfirst poster, France-Champagneof 1891 its subsequent preeminencein poster design.
(plate6), promptedToulouse-Lautrecto learn the art himself. Althoughposters influencedthe avant-garde,they were not
What is remarkableabout the work of both artists is the way at the forefrontof formalinnovationin the arts. Their signifi
they appropriated essential formal devices of Japanese cance lay in the fact that they conveyed the vitality of the
prints—flat color surfaces, asymmetricalcropped composi popularculture and in their mechanicalreproducibility.They
tions, and flowingoutlines—but transformed them into art were also accessible to the populace, had an impact on the
very much their own and of their time. urbanstreetscape, promotedproducts,andwere easilyafford
Whilethe frivolityof Bonnard'sFrance-Champagneposter able or free. In its early years the poster reflectedbourgeois
is in the spirit of Cheret, there is a wit to Toulouse-Lautrec's amusements, and was often of dubious artistic merit. Its
renderings (plates 3-5) that owes much to the French car potentialfor treating serious issues was not yet recognized.
icature traditionof Honore Daumier.These street-smart im A significant,early exceptionwas CarlosSchwabe'sposter
ages, rendered with an economy of means, were peculiarly of 1892for the first SalonRose + Croixexhibition(plate 27).
suited to the art of the poster. It is not surprising that The purpose of the poster was not only to advertise the
Toulouse-Lautrec'sart tends to be associatedwith the poster exhibitionbut alsoto embodyin allegoricalformthe philosophy
medium.In his work, in additionto the broad outlinesof the of redemptionthrough art, the goal of this esoteric, pseudo-
figures,the diagonal—a Japanesedeviceto suggest depth and religiousSymbolistart movement.This widelydistributedand
to animatethe composition—becomes an importantelement. reproducedposter became more of an emblemof the move-

14
ment than did any of the paintings that were produced. It
depicts three womenin evolvingstates of grace, symbolizing
the liberationof the artist from worldlyconcerns to a higher
plane by means of a new art based on beauty and spiritual
values. Less significantfor its artistic strength than for its
ambitionas a visualmanifesto,the poster remainedsomething
of an anomalybut pointed to an importantrole for this mass
medium.
In England,the Arts and Crafts movementhad done much
to stimulateinterest and raise standardsin bookdesign,print
ing, and typography.WilliamMorris foundedthe Kelmscott
Press and was activeas a bookdesignerhimself(figure7). But
whileMorris lookedto the Gothicperiod for inspirationin his
attempts to create a unifiedstyle in the arts, other designersin
the Arts and Crafts movement as well as artists—such as
James Abbott McNeillWhistler—turned to the newly dis
coveredart ofJapan. In poster design, the Japaneseinfluence
was much in evidence in the work of A. A. Turbayneand
Aubrey Beardsley. But while Turbayne's poster Macmillan's Figure 2. Joseph W. Morse. Five
Illustrated Standard Novels (plate 12) displays an obvious CelebratedClowns. 1856. Woodcut,
Japaneseinfluence,Beardsley'sworktransformsthe influence 82" x H'4%". The Libraryof Con
gress, Washington,D.C.
(and many others) into an intenselypersonalstyle (plate 13).
Even more than Mucha,Beardsleycame to embodythe deca Figure3. Jules Cheret. Le Chateaua
dentfin-de-siecleaspect of Art Nouveau. Toto.1868.Lithograph,29/2 x 22".
CollectionLucyBroido
Twogroupsof designersin Great Britainwere to exercise a
majorinfluenceon the medium,particularlyon the continent.
They were the Beggarstaffs (WilliamNicholsonand James
Pryde), who took the pseudonymto differentiatetheir poster
work from their painting,and in Glasgow,the Four (architect
CharlesRennieMackintosh,the Macdonaldsisters, and Her
bert McNair).Drawingupon the broad flat areas of color and
heavy flowingoutlines, whichToulouse-Lautrechad adapted
from Japanese prints, the Beggarstaffs simplifiedand ab
stracted these elements evenmore in their work. Sometimes,
as in their Hamlet (plate 17), they wouldcut out a silhouetted
figureandpaste it on the poster itself,achievinga powerfuland
simple monumentality. In contrast to Toulouse-Lautrec,
whose perceptive line caught the individualfeatures of his
personages in sharp caricature, the Beggarstaffsgeneralized
the individualfeatures of their figures. Their economicaland
powerfulrendering style, combinedwith clear bold lettering,
becameperhaps the most importantpointof departure for the
German commercialposter, whichemerged some ten years
later.
Charles RennieMackintoshand his colleaguesdevelopeda

15
" f -

j francs'

Figure 6. Edouard Manet. Champfleury-Les Chats.

Figure 5. Utagawa Kuniyoshi. Cats in Various Attitudes, c. 1843-52. Color woodcut,
Figure 4. Utagawa Kunimasa. Nakamura 1868. Lithograph, 21% x 17%". Bibliotheque des
4 printed on fan, 83/ x 11W. The Raymond A. Bidwell Collection of Prints, Museum of
Noshio. 1797. Six-color print, embossed, Arts Decoratifs, Paris
3/4". 141/2x 9 Collection Charles H. Chandler Fine Arts, Springfield, Massachusetts

ers organizedat the GrolierClub in New Yorkin 1890made

poster style closely related to the decorative detail of his
manyAmericansawareofthe workofleadingEuropeanposter
architecture,providingthe first importantexampleof the inte
designers. When Harper's magazinefirst commissionedEd
gration of the decorative and graphicarts. It also marks the
ward Penfieldto do a monthlyposter for each new issue (plate
first entry of the architect-designer—as opposed to the il
22), competitiveinstinctpromptedothers, such as The Chap
lustrator and painter—into the design of posters, a phe
nomenonthat wouldsignificantlytransformthe medium.While Book (plates 18, 19, 21), to do the same. WhileformalEuro
pean influencesare apparent—from Morris'sArts and Crafts
Mackintosh'sThe ScottishMusical Review(plate 14) shares
movementto the works of Toulouse-Lautrecand Bonnard
many of the characteristics typical of Art Nouveau—deco
the Americanposter exudes a wholesomemiddle-classpro
rative line, flat patterning, and Symbolistmotifs it is also
priety quite differentfrom the frivolity,decadence, or sharp
different,evincinga pure qualitythat came to stand for a new
beginning.In contrast to the sense of ennuiin the work of the caricatureof its European counterpart.
principalEuropeanmetropolises,the work from Glasgowpro Ofthe Americanartists, WillBradleywas perhaps the most
videda fresh breeze from the uncorrupteddistant provinces. inventive,but the most fascinatingposter in terms of future
developmentswas an unknowndesigners VictorCycles,of
Similarly,the work of FerdinandHodler in Switzerlandpro
videda sense of a fresh start. At a time that saw PaulGauguin 1898 (plate 23). In this poster "Ride a Victor" becomes an
travel to Tahitiand others to still-primitive,distant corners of evenlyrepeated sloganthat hovers like a thin planeon a black
ground. A hypnoticfigure shrouded in black partly obscures
Europe, the idea of a renewalof the arts from the periphery
the message. But, as black shroud and blackbackgroundare
was of considerableinterest.
WhileAmericahadbeen a pioneerinthe illustratedcommer ambiguousand undifferentiated,face and sloganbeginto float
cial poster, it was not internal evolutionbut influencesfrom freely.A further, frontalplane, consistingof a complexpattern
France and Britainthat led to the Americanfloweringof the of thin swirlingcircles and ellipses, reinforces the hypnotic
effect. The Americanadvertisingindustry'sfuture strategies
"art" poster in the 1890s. Publishinghouses took the lead,
for disseminatingits subliminalmessages by endlessrepetition
advertisingtheir magazinesand books. An exhibitionof post

16
 couldnot be more clearly—if too blatantly—anticipatedhere. The posters capture the differentmoods of the two German
In other parts of Europe, Art Nouveaudesigners produced cultural capitals, a differencethat was later to be apparent,
interesting posters. Salon des Cent, by the Belgianpainter althoughless so, in the work of the two great poster artists
James Ensor (plate24), utilizesa jaggedlinethat heightensthe LucianBemhard and LudwigHohlwein.
emotion of the work, reflectinghis own proto-Expressionist A poster of a decade later for an automobilecompanyby
style. It throwsintoreliefthe Expressionisttendencyunderly Akseli Gallen-Kallela,the Finnish artist with strong Berlin
ing the work of the Dutch artist Jan Toorop,which,however, connections,is fascinatingin its anticipationof futureadvertis
also remainslinkedto the decorativedevicesof Art Nouveau. ing themes (plate31). Twoyears before Marinetti'sfirst Man
That style's most important contributionto graphics was ifestoofFuturismequateddrivinganderoticism,Gallen-Kallela
made by Henry van de Velde,who gave up paintingto pursue didso visuallyin whatmaybe seen as an updatedversion(from
the appliedarts. Inspiredto do so by the exampleof the Arts horses to cars) of the classicabductionmotif.From a different
and Crafts movement he, nevertheless, rejected Morris's pointof viewhe clearlyanticipatedMadisonAvenue'smethods
Gothicideal and advocatedinstead a style expressive of the for sellingcars, perhaps too explicitly(there is some evidence
age. Graphicsand typographybecamethe mediatingsphere in that the poster was never actuallyused by the company).The
unifyingthe fineand appliedarts. They also becamethe most title is a play on words: the last word in the name of the
visiblemethodofimprovingdesignin the everydaycommercial company,"Bil aktie Bolaget," has been shortened to "Bol,"
environment. Van de Velde's 1899 designs for advertising, whichmeans ball—equatingcar, woman,and plaything.
posters, packaging,and letterheads for the Troponcompany The integrationof text and image, or at least their harmo
constitutedthe first comprehensivedesignprogramfor a com niouscoexistence,has alwaysbeen a fundamentalconcernfor
mercialenterprise (figure8). poster artists. In most cases, the text has been hand-lettered,
But van de Velde's Tropon poster as well as Toorop's unless, as in Beardsley'sAvenueTheatre,A ComedyofSighs!
DelftscheSlaolie (plate 25) also illustrate how Art Nouveau (plate 13),a section was left blankfor the additionof informa
elevatedformovercontent. Its use for commercialproductsas tion to be printed separately by letterpress. It was an issue
opposed to culturalevents was to be limitedby this fact. In
contrast, Henri Meunier's early poster for Pollet et Vittet
cocoa (plate 35) seems a model of clarity, as does Fritz
Boscovits'shumorousBilz Brause (plate 34).
The preoccupationofArt Nouveauwithmoodand symbolis
evoked in Jan Preisler's Worpswede(plate 33) and Emile
Preetorius'sLichtund Schatten(plate32).JohannesSluyters's
Zegepraal(plate 28) and J. J. Christian Lebeau'sDe Magier
(plate 29), one for a book, the other for a play,reflected the
Symbolistlegacy of Art Nouveau as well as what seems a
peculiarlyDutch tradition: a preoccupationwith the frontal
figure, arms outstretched, in a transcendentalpose. It was a
theme that obsessed Mondrianduringthe same period.
Simplicissimus,a satiricaljournal that began publicationin
1897 in Berlin, became a showcase for some of the most
advancedillustrators in Germany.Thomas Theodor Heine's
1897poster for the magazine(plate 30), featuringa growling
bulldogin stark red on a blackbackground,its features exag
gerated witha fewheavyboldstrokes, is a clear anticipationof
GermanExpressionismat its best and stands in contrast to the
Figure 7. William Morris. Drawing for title page of The Works of Geoffrey
lighter,more frivoloustone ofJosef RudolfWitzel'sposter for Chaucer. 1896. Pen and ink on paper, I6V2 x 11%". The Pierpont Morgan
the MunichmagazineJugend ofaboutthe same time (plate36). Library, New York

17
Cheret struggled with and one that Toulouse-Lautrec and arts of the Wiener Werkstatte can be seen in posters of 1902 to
Bonnard solved well, as did the Beggarstaffs and the Ger 1908, such as those of Ferdinand Andri and Bertold Loffler
mans, who chose strong clear type to complement their (plates 44, 45).
powerful images. At the height of Art Nouveau, fascinating The impetus toward geometric order and patterning did not
efforts were made to give the lettering of the text the same leave typography untouched. Legibility was sacrificed to em
decorative and sinuous flow as the design of the poster. phasize the decorative patternlike quality of the text, an urge
Witzel's Jugend is an excellent example, with text and image not dissimilar to the efforts of Art Nouveau but with a very
having equal weight. But the most extreme case in point is different effect. The early geometric clarity of the furniture
Hector Guimard's unique poster Exposition Salon du Figaro, and decorative arts of the Wiener Werkstatte became in
Le Castel Beranger of 1900 (plate 37). Printed in pastel tones, creasingly ornamental and eventually more baroque. The high-
the decorative, hand-drawn text dominates the whole poster. minded early ideals of improving the world succumbed to the
In the background, in a lighter and different tone, a swirling consumption of goods, as the haute bourgeoisieembraced the
design in the manner of the architect's decorative ironwork stylish modern objects of the Werkstatte. The inevitable reac
echoes the text. Perhaps the first example of a visually cap tion to relentless polish and decorative excess came in the
tivating typographic poster, Le Castel Beranger foreshadowed form of Expressionism, which in its Viennese version was less
the purely typographic poster of the 1920s, albeit in a very involved with the primitive and the savage than with the
different style. perverse and ugly. The extreme gestures of Oskar
The Vienna Secession, formed in 1897 by a group of artists Kokoschka, Max Oppenheimer, and Egon Schiele, designed to
and architects, was, as the name implies, a faction that broke jolt the sachertorte sensibilities of their fellow Viennese (plates
away from the officialartists' organization that dominated ex 46-48), contrast with the continuing, wholesome, romantic
hibition activity. But beyond disagreements about artistic di monumental naturalism in Switzerland and the evolution of the
rection, which had caused the formation of a number of salons tough, straightforward commercial poster in Germany.
des refuses, the Secession had grander ambitions. Like their This is not to say that Vienna did not have strong advocates
contemporaries elsewhere, such as van de Velde, the mem of the sachlich approach. Ironically, the work of Hohlwein and
bers of the Secession were concerned with the unity of all the Bernhard, who contributed the most to the development of the
arts, both fine and applied. The formation of the Secession German commercial poster, brings to mind the architect Adolf
and, subsequently, the Wiener Werkstatte devoted to the Loos and his writings on the simple comforts of English dress
applied arts, marked the emergence of Vienna as an important and on the evolution of artifacts to their natural functional form.
European center of artistic innovation. Posters became a me However, Hohlwein, who worked in Munich, betrays a certain
dium that attracted both artists and architects, and Secession Viennese influence in posters such as Deutsches Theater and
and other art exhibitions became their main vehicles. The Damenconfectionshaus Mayer Sundheimer (plates 53, 54), by
evolution of the Viennese poster style closely paralleled de organizing his text into square blocks that echo the square
velopments in art, architecture, and the applied arts in Vienna. format of his illustration. In contrast, his work for Hermann
Gustav Klimt's allegorical Secession poster of 1898 (plate 41) is Scherrer and Confection Kehl (plates 56-58) presents vi
done in a classical style related to Joseph Maria Olbrich's gnettes of everyday life and text in a direct manner. In another
Secession building design, featured in another poster (plate respect, however, he utilized pattern to great effect in these
42). Koloman Moser's work reflected the influence of Art works, imposing broad areas of flat pinstripe or square grid to
Nouveau in both its French and Scottish varieties, as well as define the dapper clothes of his models. At the same time,
that of the important Swiss artist Hodler, whose own poster certain elements are rendered three-dimensionally by means
designs are of a later date. The influence of Mackintosh was of shadows and highlights, creating a tension between flat
even more pronounced in interiors and decorative arts: his ness and depth. The imposition of pattern to emphasize a
style was adapted by Josef Hoffmann and Moser, and made flat picture plane closely parallels developments in painting,
more geometric and patternlike. The square became both such as the work of Edouard Vuillard. But the painterly touch
module and decoration. The love of pattern noticeable in the of the artist has here been replaced by a crisp, mechanical
art of Klimt, in Viennese architecture, and in the decorative image.

18
 Figure8. Henryvande Velde.TroponIAlimentlePlus Concentre.1899.Offset Figure9. Peter Behrens.AEG-Metallfadenlampe.
1907.Lithograph,26% x
3/4". facsimileof originallithograph,31% x 21%".The Museumof ModernArt, 20 CollectionMerrillC. Berman
New York.Gift of Tropon-Werke

In contrast to Hohlwein,who usuallyisolateda vignette to It is also fascinatingto compare their work with that of
represent the product, Bernhard took an even more reduc- architect Peter Behrens, one of the Werkbunds founders,
tivist and economicalapproach,showingonlythe productand who—taking van de Velde's concept for Tropon one step
the name of the manufacturer.Usingbrilliantand unexpected further—provided a comprehensivedesign program (build
colors, and a powerfuland simplifiedcompositionthat jux ings, products, posters, and other graphics) for the Allge-
taposes image and text, Bernhard created a style that, even meine Elektricitaets Gesellschaft,Germany'slargest electric
more than Hohlwein's,set the tone for subsequentcommercial company.But Behrens'sposter for AEG (figure9), for all its
poster design. The Swiss, in particular, were to developit reductionto pure geometry, is in another respect quite deco
further, although few equalled the impact of his work. rative and betrays a strong Vienneseinfluence.
Bernhard was also to inspire his own generation of German The commercialposter found its modern functionaland
designers, amongthem Ernst Deutsch, HansRudiErdt, Julius artistic form in the work of Hohlwein,Bernhard, and their
E. Gipkens,andJuliusKlinger,all of whomcontributedto the contemporaries. In contrast to the obscure symbolismand
style. While neither Bernhard nor Hohlweinwere directly formalcomplexitiesof Art Nouveaucommercialposters or the
involvedwith the Deutscher Werkbund,their workreflectsits strong and unusualefforts of the unknowndesigner of Victor
goals as well as the emergence of Germany as a modern Cyclesor Gallen-Kallela,Hohlweinand Bernhard provideda
industrialand commercialpower. reliablestraightforwardformula.Their ownwork set an artis-

19
 (plate 71), with a knife-wieldingskeleton in the foreground and
gallows in the background, was in fact a plagiary from the cover
of a murder mystery; while the poster by an unknown Russian
designer wishing the Bolshevik revolution well on its tenth
anniversary (plate 72), is a wonderful satire on the forces of
reaction (monarchy, church, imperial army, capitalists, and
Uncle Sam) charging the ramparts of communism on the back
of a colossal pig.

he postwar years gave new impetus to the spread of

modernist aesthetics to the more popular artistic medi-
urns. In Germany, Expressionism in the visual arts,
which before the war had flourished in painting and sculpture,

I after the war spread to architecture (briefly), film, and post

ers. The range of Expressionist posters shows how the genre

FORU.S.ARMY
NEAREST RECRUITING STATION
was able to draw upon, adapt, and synthesize numerous
styles, from the Gothic to Cubism. But unlike the Russian film
poster, which drew upon the montage effects of the film
medium itself, the German Expressionist film poster was
essentially scenographic.
Figure 10. James MontgomeryFlagg. I Want Youfor U.S. Army. 1917. The pictorial influence of Cubism was also to become man
Lithograph,40V4x 29!#'. The Museumof ModernArt, NewYork.Acquired
by exchange ifest at a popular level immediately after the war, but to a
limited degree. The early posters of E. McKnight Kauffer in
tic standard for the genre at a time when the commercial England are some of the best examples. Among the most
poster was at its height. It must be remembered that until well remarkable is Karel Maes's poster of 1922, De VertraagdeFilm
into the 1920s the colored lithographic poster was the most (plate 83), which, in its crisp mechanical form suggesting
powerful vehicle for commercial advertising in existence. spinning reels and overlapping transparencies, had close con
There were no radio or television, and journals were essen nections to the work of his fellow Belgian artist Victor Ser-
tially confined to black-and-white reproduction. vranckx and also to the mechanistic art of Fernand Leger.
For similar reasons, the poster became one of the principal In his first Manifesto ofFuturism Marinetti had written, "We
and most effective vehicles of government and political propa will sing of great crowds excited by work, by pleasure, and by
ganda. With the advent of the First World War and subsequent riot ... of the multicolored polyphonic tides of revolution in
political turmoil, the propaganda poster came into its own. the modern capitals ... of the vibrant nightly fervors of
7 While illustrators produced most of this work—such as James arsenals and shipyards blazing with electric moons." In his
Montgomery Flagg's famous I Want Youfor U.S. Army (figure poetry he sought to give visual expression to the anarchic
10)—the best poster designs were inspired by Bernhard. The energy of war, the big city, and the rioting crowd (figure 11).
boots and gloves that had been used to represent consumer Setting out to destroy all literary and typographic rules, Ma
objects became symbols of war, in the form of armor and heavy rinetti called for the abolition of punctuation, the adverb, and
riding boots. This marked the first modern widespread use in the adjective to break down completely the traditional con
art of parts of the body—the hand, arm, foot, and later the eye tinuity and order of writing. His poems also offend all tradi
and mouth—as symbols. Dada and Surrealism also developed tional criteria for good taste and clarity in layout and design in a
this device, as did Pop art much later. way that the lyrical poetry of Stephane Mallarme or even
The ideological conflicts unleashed by the triumph of the Guillaume Apollinaire (figure 12), two other pioneers of free
Bolsheviks produced handsome examples of extreme paranoia verse, never did. The Futurists also had a particular interest in
and witty caricature. Rudi Said's Die Gefahr des Bolschewismus the medium of print, not just as a vehicle for their poetry but

20
 for the purpose of proselytizing their ideas on subjects touch
ing all aspects of life—from sculpture to lust. LA CRAVATE ET LA MONTRE
Although they produced almost no typographically advanced
ia
ra
posters, the revolution the Futurists initiated in typography ^ ft r
1
i-G

proved fundamental. Through their influence on Dada and the futurista

DOU
LOU
REUSE
Russian avant-garde they contributed to the development of QUE TU
PORTES

the new typography in the 1920s, despite the apparent con ET QUI T*
ORNE O CI
vilis£
trast between their anarchic compositions and the highly OTE TU VEUX
LA BIEN
structured compositions of the Constructivists. SI RESPI
RER

Futurism's rejection of tradition and its love of anarchy and

chance made it an important influence on Dada. This can be
seen in the scrambled composition of the text in the poster
Kleine Dada Soiree of 1922 (plate 84) by Theo van Doesburg
JfO"ZO
and Kurt Schwitters. In another respect there is an important camptsireiutre

difference. The Futurist typographic poem was usually orches

trated to provide a sense of simultaneity of sounds and events
and a feeling of the physical jostling of one element by another.
Dada artists, wishing to express chance and the irrational,
produced a characteristically random juxtaposition of disparate
images, ideograms, and words, emphasizing the discontinuity
of the compositional elements (figure 13). The Dadaists' appro
priation and use of ideograms —the eye or the hand with
pointed finger, among others —would reverberate through
subsequent graphics, the latter to the point where it became Figure 11. Filippo Tommaso Marinetti. Page from Les Mots
TAIGNE something of a cliche. Both Futurism and Dada embraced Gal ERI ON en Liberte Futuristes. Milan: Edizione Futuriste di "Poesia, "
photography and film, two essentially new artistic mediums. 3'15.av laighe 1919. Letterpress, 13% x 9%". The Museum of Modern
Art, New York. Gift of Philip Johnson
Particularly, early Dada experiments with photomontage (fig iww tu hu« itu
ures 14, 15) were instrumental in extending the interest of the Figure 12. Guillaume Apollinaire. Page from Calligrammes

avant-garde to the possibilities of the photograph and its com [NUL

n'esteeml
(1917). Paris: Librairie Gallimard, 1930. Letterpress, 13%
x 9%". The Museum of Modern Art, New York. The Louis
bination with typography and text. E. Stern Collection
Given their diversity, there was a remarkable amount of IGNORER Figure 13. Tristan Tzara. Salon Dada. 1921. Offset
animated contact and fruitful intercourse among the various Qui est tt 'jptiptutwupdirtder
lithograph, 46 x 30%". Collection Elaine Lustig Cohen
avant-garde groups after the war. This was, no doubt, rein
forced by their exhilaration in finding like minds addressing
common problems from different directions, especially after
the isolation caused by four years of hostilities. The need to
ATHLETES
communicate and proselytize was great. Small avant-garde
journals became the favored vehicles for projecting and ex
changing ideas: Dada in Zurich; De Stijl and Mecano in the
Netherlands; LEF and Novyi LEF in Russia; Ma in Hungary;
G, Merz, Veshch/Gegenstand/Objet,and DerDada in Germany;
Blok in Poland; and LEsprit Nouveau in France (figure 16).
Most of them also provided showcases for typographic experi
mentation, and their group exhibitions and events spawned
handbills and posters. EXPOSITION

21
 Figure14.GeorgeGroszandJohnHeart-
field. Leben und Treibenin Universal-
City.1919.Photomontage.Whereabouts
unknown
Figure15.RaoulHausmann.La Critique
3/4". d'Art. 1919.Photomontage,12%x 9
CollectionFordemberge

41>l>

A strange confluence of movements (Dada, de Stijl, and became the greatest single influence on the new typography.
Constructivism) and individuals (van Doesburg, Schwitters, Early Dadaist typographic experiments were too diverse,
and El Lissitzky among them) came, in fact, to form a loose crystallizing a sensibility but not a style; and early de Stijl
coalition of disparate interests. They did share an antipathy graphics, employing heavy woodblock letters, continued to
toward Expressionism, which emphasized individualemotion. express handicrafts and, like the earlier Viennese work, sacri
But otherwise Dada and de Stijl or, for that matter, Dada and ficed legibility for formal and decorative effect. El Lissitzky,
Constructivism seemed to have little in common. However, who had trained as an architect in Darmstadt, had become
the period witnessed van Doesburg, de Stijl's chief propagan interested in book design while teaching at the Vitebsk art
dist, writing Dada poetry under the pseudonym L. K. Bonset, school, and produced some Jewish picture books in a style
as well as close collaborations between El Lissitzky and the similar to that of Marc Chagall, then head of the school. In 1919
Dadaist Schwitters in Merz. Representation in one another's he met Kasimir Malevich who also taught at Vitebsk. Adapting
journals was a common feature of the period, as were such Malevich's Suprematist style of dynamic, floating abstract
events as the Congress of the Constructivists (which included planes to typography, El Lissitzky produced one of the first
the Dadaists Jean Arp and Tristan Tzara, among others), orga completely abstract posters, Beat the Whites with the Red
nized by van Doesburg in 1922 in Weimar, the location of the Wedge(figure 17). This was followed in 1920 by his famous
Bauhaus, which was still under strong Expressionist influence. children's story The Taleof2 Squares. Moving to Berlin in 1921,
In this intense interaction between the various avant-garde El Lissitzky (with the poet Ilya Ehrenburg) started the tri
movements after the war, the Russian artist El Lissitzky lingual magazine Veshch/Gegenstand/Objet, which, among

22
 other things, served as a vehiclefor his typographicdesigns. Alongwiththe avant-gardeinterest in new typographywent
Equally important was his design for the poet Vladimir an interest in the new mediumsof filmand photography.The
Mayakovsky'sFor Reading Out Loud of 1923 (figure18). El postwar years saw the emergence of filmas a form of mass
Lissitzky'swork exercised an immediateand importantinflu entertainmentand the extensionof photographyin the form of
ence on van Doesburg, Schwitters, and perhaps most impor the illustratedphotojournal.Althoughthe halftoneprocess of
tant, LaszloMoholy-Nagy. photographicreproductionhadbeen inventedin 1880,its wide
El Lissitzky'sgraphicdesignworkprogressedfromhis early spread use as a replacementfor engravedillustrationshad to
efforts (directly indebted to Suprematist painting)to more awaitfurther technicalimprovementand the end of the First
purelytypographicdesign. A prolificsynthesizer,he was also WorldWar. Because of technicaldeficienciesin the printing
influencedby Dadaist works such as the first cover for Der process, photographicreproductions were for a long time
Dada of 1919by RaoulHausmann,and by examplesof de Stijl. regarded as inferior to engravings.For similarreasons, the
His principalcontributionto the new typographywas its dy photographicposter remaineda rarity until the 1920s.
namicand mechanicalgeometric order, derived from the Su To the members of the avant-garde,photographyand film
prematist languageof planes in space. The new typographic had a double appeal in their objectivity and mass re
compositionswere asymmetrical,often with a strong empha producibility.They also had a popular appeal that abstract
sis on the diagonal,with letters, forms, words, and heavy designin itselfdidnot enjoy.Ofthe newmediums,El Lissitzky
ruled lines floatingon a uniformlycolored background.Dif said, "The inventionof easel-picturesproducedgreat worksof
ferent typefacesand type sizes were juxtaposed(an influence art, but their effectivenesshas been lost. The cinemaand the
9 from Dada). Elements often overlappedand/or interlocked. illustratedweeklymagazinehave triumphed."
The combinationof black, red, and white gave the works The mass of photographicmaterialgenerated by the illus
strikingvisualas wellas revolutionaryeffect. Summingup the trated press became the raw material of a new art form:
mechanicalimpersonalaspirationsof the new objectivity,El photomontage.The GermanDadaistsRaoulHausmann,John
Lissitzkywrote, "For modernadvertisementand for the mod Heartfield,and HannahHochexploitedits possibilities,as did
ern exponentof formthe individualelement—the artist's 'own the Russians Alexander Rodchenko, Gustav Klutsis, and
8 touch'—is of absolutelyno consequence." others. Whodid it first is a moot point, as its roots go back to
the nineteenth century. The new techniquealloweddisplace
ment and juxtapositions,assemblagesand collagesof infinite
variety. It was used for humorous, political,or surreal pur
poses. Photomontage created a new kind of poster, from
Heartfield'spoliticalposters to Moholy-Nagy's brilliantintegra
tionofphotography,typography,anddrawinginhisPneumatik
(figure19), a poster proposalof 1923.
Photographyprovidedanother useful technique, the pho-
togram, involvingthe direct exposure of photographicpaper,
first exploited by the Dada artist Christian Schad in his
Schadogramsand by the AmericanMan Ray.Its relevanceto
the art of the poster was first made clear by El Lissitzkyin his
1924poster proposal,Pelikan Tinte (figure20).
WhenJohannes Itten (figure21), who taught the Bauhaus
PreliminaryCourse withan emphasison individualexpression,
was succeeded by Moholy-Nagyin 1923,the Bauhausmoved
decisivelytowardthe rationalConstructiviststyle for whichit
became known. The new direction proved more fruitful in
terms of the school'sbroad ambitiousgoals, and helped bring
them into clearer focus. Moholy-Nagyfocusedon typography,

23
 Figure 16. Avant-gardemagazines,
leftto right,firstrow:Ma (Hungary),
1922;Merz (Germany),1923,cover

dada
by Kurt Schwitters;DerDada (Ger
» 1922 - VIII Avfoiyum- 1 stim
many), 1919,cover by RaoulHaus-

MERZ
mann; second row: G (Germany), %
1926; Novyi LEF (Russia), 1928, 50Pfg.
coverbyAlexanderRodchenko;Blok
(Poland), 1924, cover by Teresa
Zamowerowna;Veshch/Gegenstand/
Objet(Germany),1922,cover by El
1 3K i «
Lissitzky; third row: De Stijl (the
HOLLAND 55
Netherlands),1917,coverby Vilmos DADA
Huszar; Mecano(the Netherlands),
Iv JANUAR
1928
1923,cover by Theo van Doesburg; K
53
HERAUSGEBER;
KURTSCHWITTERS
HANNOVERWALOHAUSENSTRASSE
8-

Adl
L'EspritNouveau(France),1922
AKTIVISTA sSsSe.-> 3
FOIY6IRAT
BLOK*
REVUE
D'ART*Ns5.

Z
5
.! w— C—>
S**
A
J
«
HOLLAND'S
BANKROET
DOOR DADA
> I
'
LESPRIT
NOUVEAU
m
fil? Lt-P.-IL'

•n
a

24
photography,photomontage, and the photogram. While no
officialcourses in typographyor photographyexisted at the
Bauhausuntilits move to Dessau in 1925,Moholy-Nagytook
charge of the existingprintingshop (used for Bauhauspub
licity)and encouraged his students—among them Josef Al-
bers, Herbert Bayer, and Joost Schmidt—to use it. Oskar
Schlemmerproduceda series of posters in his owndistinctive
mechano-figuralstyle. In Dessau, a number of former stu
dents were appointedmasters, andtypographybecamepart of
the curriculum.Schmidttaught a compulsorycourse in letter
ing, and Bayer became head of the print workshop.
Bayer'stwo posters of 1926,for a HansPoelziglectureanda
WassilyKandinskyexhibition(plates 93, 95), represent the
high classicism of the Bauhaus period, building on a ty
pographicstyle partly evolvedby Moholy-Nagyin the Bauhaus
publications(figure 22). In comparison, Schmidt'sBauhaus hi 19 Autuja noAMTynPABAtMM*3*n

poster of 1923 (plate 91), with its abstracted anthropomor Figure17.El Lissitzky.FacsimileofBeat the WhiteswiththeRedWedge.1919.
phism, still seems tentative and El Lissitzky'sConstructivist Offsetlithograph,19V2x 28".The MuseumofModernArt Library,NewYork
work too experimental.By 1927-28 the typographicposter
was movingin new directionsinvolvingcolor,as in a modular the Bauhaussoughtto workcloselywithindustry.Indicativeof
Leipzigexhibitionposter by Bayer of 1927and E H. Wenzel's this relationshipwas the course in advertisingart held at the
Schau FensterSchau (plates 96, 97). Walter Dexel, an artist Bauhausin 1927 by the Associationof German Advertising
and graphicdesigner stronglyinfluencedby the Bauhausbut Specialists.The Bauhauswas not alone in bridgingthe gap
working outside of it, aspired to a straightforwardclarity from avant-gardeart to commercialadvertising. Schwitters
similarto that of Bayerin his poster Verwende Stetsnur Gas of set up his ownadvertisingcompany,andin 1927he formedthe
1924(plate 94). But he became more playfulin Fotografieder Ring der Neuer Werbegestalter (Circle of New Advertising
Gegenwartof 1929, with its mirror-imagetype (plate 98), a
theme that fascinatedmany of the designers of the period.
Typographyat the Bauhauswas not confinedto book and
poster design,althoughthe fourteen Bauhausbookspublished
between 1925and 1930represented a majortypographiccon
tribution, as well as a theoretical one, to the whole field of
design. Bayer and Albers designed new sans serif typefaces
based on geometric shapes and only in lowercase letters, a
mannerismof the periodwhichsaw it as both more egalitarian
and utilitarian(Gropiuswrote allhis letters withoutcapitals,as PMH
did Bertolt Brecht). Bayer'sUniversaltype and Albers'ssten
cilswere developedwith displayand poster designvery much
in mind (figures 23, 24). In printing and book design the
7 _J CKyC-
—CTB

Bauhausoverwhelminglyfavoredsans serif lettering. Whileit

is arguable whether sans serif text is more legible, it has a
clean, functionallook. Allthe Bauhauspublications,as wellas
most progressivemodern printingof this period, are in sans
Figure 18. El Lissitzky.Twopages from For ReadingOut Loud by Vladimir
serif type. Mayakovsky.Berlin:R.S.ES.R. State Publishing,1923.Letterpress, lOVix
In accordancewith the idealsof the Deutscher Werkbund, 7". The Museumof ModernArt, New York.Gift of PhilipJohnson

25
 , .i .

Figure 19. Laszlo Moholy-Nagy.Pneumatik. 1923. Photomontagewith Figure20. El Lissitzky.PelikanTinte. 1924.Photogram,8% x 5%".Collec
graphicelements. Whereaboutsunknown tion Thea Berggren

Designers)with WilliBaumeister,Jan Tschichold,and Fried- designhad comeof age, and the innovationsof the avant-garde
rich Vordemberge-Gildewart,amongothers. were rapidlybeing appropriatedand adapted to commerce.
The rapid transitiontaking place in poster and graphicde Tschichold,one of the few designers who came to the new
sign in this period was reflected by the demise in 1921of the typographyfrom a typographicalbackground,was instrumen
highlyinfluentialjournalDas Plakat, whichhad been oriented tal in this process. After he sawthe WeimarBauhausexhibition
towardcollectorsand had in its daychampionedBemhardand Art and Technics,A New Unityin 1923,Tschicholdbecame a
Hohlwein.Its owner, Hans Sachs, a dentist and poster enthu convert. In 1925,at age twenty-three,he publishedthe article
siast, had amassedwhat was then the largest poster collection "Elementare Typographic"in the printing trade journal Ty-
in the world. Four years later, in 1925, Gebrauchsgraphik,a pographischeMitteilungen, which introduced the new Con-
journalof internationaladvertisingart, began publicationwith structivist-inspiredtypographyto a wide audienceof profes
extensivearticles on both the new typographyand on the new sionalprinters. In 1928he publishedDieNeueTypographie, and
arts of advertisingand productphotography.Modem graphic in 1935,Typographische Gestaltung(Asymmetrical
Typography),

26
both influentialbooks that sought to explain and codify the new de Stijl with a drawing of a film strip viewed by a pair of eyes.
typography. Tschichold's importance was not only as a pros- However, most of Zwart's inventive work was done for bro
elytizer for the new typography but, equally, as a practitioner chures and magazine advertisements for commercial clients,
who refined it. His film posters for the Phoebus Palast theater particularly NKF (figure 26), a cable manufacturer. His career
of 1927, incorporating asymmetrical balance, diagonal layout, illuminates the gradual move of the leading designers into
photomontage, and text, were highly influential. They parallel other aspects of graphic design. The main vehicle for commer
work done at the Bauhaus by Max Burchartz. However, both cial advertising became the magazines and journals. The
Tschichold's DieFrau ohneNamen (plate 100) and Burchartz 's poster, dominant into the early 1920s, was to lose its central
Tanz Festspiele(plate 101)have their genesis in the photomon role, owing to technical advances in magazine printing.
tages of Moholy-Nagy. The 1920s saw the emergence of modem Swiss graphic
Other photographic posters were documentary in nature, design, which has continued as a major force in the field to the
such as Helmut Kurtz's Ausstellung N eue Haus-Wirtschaft of present day. The early work of Burkhard, Ernst Keller,
1930, which made a montage of new commercial photographs Niklaus Stoecklin, and WilhelmWenk in typographic posters —
of modem household artifacts (plate 104). Powerful commen some using an elegant calligraphic type —contributed to the
tary could be achieved by such basic methods as overprinting a growth of the genre's formal possibilities. The monumental and
red X over a photograph of a traditional interior, as in the highly ordered typographic posters of Theo H. Ballmer of
poster by an unknown designer for the Deutscher Werkbund 1928, which today still seem to embody enlightened modem
exhibition of 1927 in Stuttgart (plate 103). The possible range corporate graphics (plates 119-122), reflect his Bauhaus train
of invention and fertile combinations was formidable. Johannes ing. Other works by Jean Arp, Otto Baumberger, Alexey
Molzahn's coordinated series of posters for the Breslau Werk Brodovitch, and Walter Cyliax (not all of them Swiss) indicate
bund exhibition of 1929juxtaposes the elegant large logo with, the spread and appropriation of the new, elegant geometric
in one poster, a montage of trade skills, and in another, a map abstraction. Tschichold's move from Germany to Switzerland
of the fairgrounds (plates 105, 106). Bayer drew a surreal
abstract landscape, into which he inserted the small figure of a
man in his SectionAllemande poster of 1930 (plate 109). In IB A
(plate 107) he appropriated typewriter type, a strategy similar
to that of Paul Schuitema's for ANW (plate 108), which con
sists of what appears to be a section of an addressed envelope
cover, complete with stamps and labels.
In the Netherlands, the artist Bart van der Leek made an
important contribution with several abstract posters in 1919
(figure 25). Like his paintings and the work of a number of
other de Stijl artists at this time, they retain a reference to the
object represented. It is fascinating to see the beginning of the
process of abstraction (seemingly under Egyptian influence) in
his poster for the Batavier-Line of c. 1915 (plate 110). Christa
Ehrlich, Vilmos Huszar, and Hendrikus Wijdeveld, as well as
Gerard Baksteen, defined the 1920s graphic look in the
Netherlands, which for all its abstraction retained a refined,
handcrafted, and decorative appearance.
Piet Zwart, an architect and furniture designer, became the
most inventive exponent of the new Constructivist typography
in the Netherlands. Unfortunately, he made very few posters,
the best known being ITF for a film exhibition of 1928 (plate Figure21.JohannesItten. Gruss Heil Herzen. 1924.Lithograph,14 x 9%".
114), which elegantly combines the asymmetrical geometry of The Museumof Modem Art, New York.Gift of SamuelA. Berger

27
 Figure 22. Laszlo Moholy-Nagy.
Title spread from Malerei, Photo- in 1933 capped the cross-fertilizationof German and Swiss
graphie, Film. Munich: Albert Lang- Bauhaus bocher design. His minimalistSwiss work, such as the Konstruk-
en Verlag, 1925. The Museum of SCHRIFTLEITUNG
WALTER GROPIUS
tivisten poster of 1937 (plate 127), represents perhaps the
L. MOHOLY-NAGY
Modern Art, New York
ultimaterefinementof the new style andhas closeconnections
Figure 23. Herbert Bayer. Universal to the work of the SwissdesignerMaxBill,who, likeBallmer,
Type. 1925 L.MOHOLY-NAGV: studied at the Bauhaus.
Figure 24. Josef Albers. Bauhaus MALEREI El Lissitzky's enthusiasm for typography and book and
Lettering Set. 1926-31. Opaque MALEREI, PHOTOGRARHIE, FILM PHOTOGRARHIE poster design, photography,and filmwas not an isolatedRus
white glass mounted on yellowwood,
24 x 24". The Museum of Modern
FILM sian phenomenon. It was shared by many members of the
Art, New York. Gift of the designer 8 Russian avant-garde. The revolutionaryregime's need to
arouse, educate, and transform the consciousness of the
masses provideda great demandfor these mediums.Although
apparentlyLenin took a dim view of avant-gardeabstraction,
he gaveAnatoleLunacharsky,the new ministerof cultureand
a modernist sympathizer,a free hand to recruit the avant-

ctbcdefqhi
garde to the cause of the revolution. Posters, billboards,
handbills,anythingthat couldcommunicatevisually,becameof
primary significancefor a vast country with many languages

ixlmnopqr and a high rate of illiteracy.

VladimirMayakovsky,the avant-gardepoet andartist, coor
dinatedthe first, and one of the most significant,efforts of the
10
s tuvwxqz new regime, the ROSTA window-postercampaign.Maya
kovskydevelopeda satiricalposter style of stock characters
that built on the traditionallubok, a crude peasant style of
woodblockprintingfeaturingreligiousand folkthemes (figure
27). Whilethe Bolshevikshad come to power in 1917,efforts
by various White Army factionsto regain power created an
( i unstablesituationuntilthe early 1920s.Empty store windows

DLL
1&B£ (
muL were used to informand exhort the populaceto maintainits
revolutionaryfervor.
The ROSTAcampaignalsoproducedimportantefforts such
as WhatHave YouDonefor theAVowf? (figure28),probablyby
m pi iirn ;
j C3
l lj_jl Malevich. Essentially a Suprematist compositionwith text
added, it presumablyserved as inspirationfor El Lissitzky,but
also highlightsEl Lissitzky'sown important contributionin
makingtypographyan integraldesign element of his Beat the
a o Whiteswith theRed Wedge(see figure 17).
11 AlexanderRodchenko,whotaughtat the VKhUTEMAS in
Moscow, was central to the development of avant-garde
graphicsin Russia. Stronglyinfluencedby Malevichand Tatlin
(as were so manyother Russianartists), in 1921he andtwenty-
five other Constructivist artists, later called Productivists,
announcedthat they wouldabandonpure art in favor of the
applied arts. While also designing furniture and clothing,
Rodchenkomade a majorcontributionin typographyand pho-

28
tography. His many graphic activities included designing ani Figure 25. Bart van der Leek. Ten-
mated film titles for Dziga Vertov's newsreels, covers and toonstelling v.d. Leek. 1919. Litho
graph, 45% x 22". Collection Josef
graphics for the avant-garde journals LEF andNovyiLEF (see Miiller-Brockmann, Switzerland
figure 16), a series of photomontages to illustrate Mayakov-
Figure 26. Piet Zwart. "Hot Spots"
sky's poem Pro Eto (figure 29), book covers, a collaboration
(Advertisement for NKF cable
with Mayakovsky (who supplied the text) for a series of com works). 1926. Letterpress, 10 x
mercial posters (dubbed by the latter "poetry of the streets"), 6%". The Museum of Modern Art,
and film posters. Beginning in 1924 he also became in New York. Gift of Philip Johnson

creasingly involved in photography, an interest he shared with

Moholy-Nagy and Bayer (he began to correspond with the
former in 1923). Rodchenko became the chief Russian expo
nent of a new photography that emphasized unconventional
views (figure 30) as well as the play of shadow and light. The
angled shot from below, which tended to monumentalize fig
ures, became conventionalized by the communist regime with
which it found favor after other avant-garde practices had been
suppressed. The propaganda posters of Klutsis of the early
1930s and photographic work by Rodchenko and El Lissitzky

documenting industrialization, which appeared in the magazine

TliNTCICINEiTELUNti! USSR in Construction, represented the power of this genre at
its best.
KO.LECK. 12 ,J /lh|: 'il FlElil- Under Soviet auspices the filmindustry was encouraged as a
leading communications medium, and under Lenin's new eco
nomic policy many foreign films were imported. Documentary,
educational, propaganda, and entertainment films were pro
duced. The work of masters of the medium such as Sergei

A Eisenstein and Vertov was encouraged. The establishment of

a separate department for the production of posters within Sov
Kino, which ran the nationalized Russian film industry, was to
-4 v be of fundamental importance to the development of the Rus
« i sian film poster between 1924 and 1930. The head of poster
production, an artist named Yakov Ruklevsky, recruited a
brilliant group of avant-garde Constructivist designers. Of
wsm these the most prolificand talented were the brothers Vladimir
and Georgii Stenberg, who had already made a name for
themselves as sculptors. Others included Anatoli Belski,
Josif Bograd, Grigory Borisov, Mikhail Dlugash, Josif
Gerasimovich, Anton Lavinsky, Alexandr Naumov, Nikolai
Prusakov, Grigory Rychkov, and Leonid Voronov.
The film medium itself influenced the poster genre. The
i/i:n:ir iiie kunst splice, the closeup, simultaneity, juxtaposition, and double
exposure all became techniques utilized by poster artists.
NOIilELSTR: UTRECHT Rodchenko's compositional technique and photomontage were

29
 a montage of figures, as in one of his detective-story covers
(figure 32). The slash lines used here became another favored
device (often used as the diagonal) to present different scenes
in the same poster.
While techniques of filmand photomontage were the point of
L BPAT
nOCJIEflHHM
TOTOB! 2.ItliCTEIIEHHO
BXflyT
OTIiyCKATb departure for their posters, the Stenberg brothers, masters of
nPM3falBHblX
CTAPIM TO/JOB.
color and the lithographic process, preferred to draw their
images. The facilities available for printing photographic im
^ | J,. ages simply did not give them the sharpness and color they

m
desired. However, the photographic quality of their renderings
was achieved by a primitive method of projecting film and
photographic images to the desired size and then drawing over
them.
3.BBWTCB
COAAIIU
H(HE 4.UflMHCfl PACllBETA
BflOM, POCCMM
TPJflOM. On their poster for Walter Ruttmann's documentary film
Symphonyof a Great City (plate 137) the Stenbergs adapted a
photomontage by the photographer Umbo, featuring a jour
nalist with his camera, typewriter, pen, and watch, and then
added text and a modern skyscraper. In the poster for the film
Forced Labor (plate 140), they drew a filmstrip with one frame
enlarged by a magnifying glass; and in the posters The Three-
5. (MHO
HEmil\h - WHB 6. TOTOB
liTilh»
KAI1HTA/1H3M
B 3/4CBETA, Million Case and Pounded Cutlet (plates 141, 142) the render
ing appears to mimic the flickering effect of film running out of
Figure 27. Vladimir Mayakovsky. Poster for ROSTA (Russian Telegraph
Agency). December 1920
synchronization, in order to achieve a sense of tension and
movement. Similarly, El Lissitzky in USSR Russische Aus-
stellung (plate 149) drew his images, although they suggest the
photographic technique of double exposure.
When photomontage was actually reproduced in photo

E' graphic form, as in the inventive poster I Hurry to See Khaz

Push (plate 144) by Borisov and Prusakov, or Pipe of the
Communards (plate 145) by Anatoli Belski, it was often used

no1 aii«ii M as texture to define a particular shape or object (the bicyclist

and the smoke) as well as to add a further narrative dimension.
OTflQM
fmm TfM,KTO
VMMPU8T,
fflBflffiDl
TCfi*. On the other hand, Klutsis preferred large, grainy, crudely
reproduced photographic images and combined them with
strong red backgrounds to achieve a revolutionary effect
CMO/IPOCTA. (plates 150-152).
What is most remarkable about the Russian film posters of
Figure 28. KasimirMalevich(?). What Have YouDonefor the Front? Poster for
the 1920s is the successful fusion of avant-garde practice and
ROSTA (Russian Telegraph Agency). 1919
popular culture. By drawing on film and photography, the
posters retained the figurative dimension. But the inventive
also an important influence. In his commercial posters of 1923 compositional techniques, juxtapositions of images, and uses
he had evolved a powerful axial format that gave an essentially of color and texture transcended popular taste. The other
symmetrical structure to his work, such as one of his adver striking aspect of these posters is the sense of humor and
tisements for the Gum department store (figure 31). With the playfulness they project at a time when the avant-garde was
basic order in place, asymmetries could be introduced, such as serious and ideological.

30
 Figure 29. Alexander Rodchenko.
Photomontagefrom Pro Eto {About
This),a poem by VladimirMayakov-
sky. Moscow: State Publications,
1923.Letterpress, 9 x 6". The Mu
seumofModernArt, NewYork.Gift
of PhilipJohnson
Figure 30. Alexander Rodchenko.
Girl with Leica. 1934. Photograph,
1514 x 11%". Collection Gmur-
zynska, Cologne
Figure 31. Alexander Rodchenko.
Advertisementfor Gumdepartment
store. 1923

Figure 32. Alexander Rodchenko.

Designfor the cover of TheMask of
Revenge,a detectivestory. Moscow:

i State Publications,1924

mejipbekS
A)KMM EEQDE3

niiii
Ws
AHu3tP

mm

i
31
 If the political posters of Gustav Klutsis sought to reflect ists had extolled them), but the formal means of presenting
the euphoria of collective experience in building up a new them were. The Futurists had adapted Cubism to show move
social order and industrializing a backward country, the ment and simultaneity, also seeking to capture the chaos and
posters of A. M. Cassandre in bourgeois France and, in gen tumult of the new, urban industrial landscape. The postwar
eral, those of the 1930s in the West (among the victorious French artists fused Cubism with the French classical tradition
Allies) sought to reflect the euphoria of the new hectic pace of to create monumental still-life and landscape art of modern
life and the new freedom in countries increasingly indus industrial forms that extolled both volumetric articulation and
trialized, middle-class, and consumer-oriented. Cassandre's layering. While the Purists, on the one hand, confined them
La Route Bleue, Etoile du Nord (plates 153, 154), and many selves almost solely to still-life painting of objets trouves—
other railway posters, as well as the posters of his contempo innocuous everyday mass-produced objects such as bottles,
raries Paul Colin, Pierre Fix-Masseau, J. P.Junot, and Charles glasses, and plates —others, among them the American Preci-
Loupot, beautifully symbolize the lure of fast travel. Unlike sionists, depicted industrial landscapes, closely cropped views
today, belching smokestacks were then a symbol of progress, of ocean liners, factory smokestacks, or ventilators.
as of course were whirling gears, captured in all their muscular Leger was not interested in the obvious monumental forms
power by E. McKnight Kauffer in his maquette for Metropolis of industrialism but, rather, in smaller, everyday objects or
or in his work for the London Regional Transport Authority details such as gears. Nor was his interest exclusively indus
(plates 165-167). trial: he rendered with equal care a classical baluster. Leger's
While Germany suffered the trauma of defeat and financial fusion of Cubism with volumetric articulation, and his style of
crisis, and Russia was preoccupied with building a new revolu impersonal rendering, shading, and clarity of outline was par
tionary society, France and Britain set about picking up the ticularly suited to lithography and mechanical reproduction,
pieces and getting on with enjoying life. There was generally a and artists such as Cassandre and Kauffer made the most of it,
positive attitude toward industrialization and the forms it gen each adapting it to suit his own needs. Leger himself designed
erated, and no desire to radically change the world, only a wish only two posters, one for the filmLa Roue (figure 34), by Abel
to facilitate the coming of the new age. Gance, the other for the fAmL'lnhumanite, by Marcel Herbier
School of Paris modernism provided an important formal and (neither one realized). For all the brilliance with which they
ideological basis for the work of poster artists, particularly integrated typography with mechanical imagery, these ma-
Cassandre and Kauffer. Leger and the Purists— Ozenfant and quettes are essentially extensions of Leger's paintings.
Le Corbusier —were the most important points of departure. What makes the work of Cassandre and Kauffer extraordi
While neither Le Corbusier nor Ozenfant was actively involved nary is the way in which it reduces the complexity of the work
in graphic design (in fact, L'Esprit Nouveau had a rather of Leger or the Purists, among others, to essentials —to
conservative appearance), they had a very real interest in the instantly graspable iconic forms. Their poster work, of course,
print mediums, whose revolutionary impact they recognized. had a very immediate, functional purpose: to catch the atten
Just as they sought to make their readers aware of the power of tion of the populace and to sell a product. For this they utilized
the new, vernacular industrial architecture they sought to the new visual language and its formal compositional means to
make them aware of the beauty of machines and industrially brilliant effect.
produced objects through "found" advertising photographs The London Regional Transport Authority was an en
and prospectuses, which they recycled as cryptic visual com lightened client for graphic design, and commissioned a whole
ments in their magazine. A series of articles in LE sprit series of posters from Kauffer and from unlikely artists such as
Nouveau titled "Eyes Which Do Not See, " in 1921-22, focused Man Ray, whose poster with an Underground symbol floating
on ocean liners, airplanes, and cars as presenting the new like a planet in the cosmos (plate 168) represents an eerie
forms of modern life rationally arrived at. While the authors symbolism and an ironic one, given the earthbound nature of
wanted to focus on the process by which these had been the London subway system. The typeface used by Man Ray
designed, their illustrations provided an immediate and power was one of the first modern sans serif faces, which had been
ful iconography for the new aesthetic (figure 33). commissioned in 1915 for the Underground from the calligra-
The interest in engineering forms was not new (the Futur pher Edward Johnson.

32
 Withthe exceptionof isolatedexamplesor where elements
of photomontageare used, the photographicposter did not
become widespread until the mid-1930s.Herbert Matter's
Swiss travel posters (plates 179, 180) were pioneers in this
regard, as was Xanti Schawinsky's1934 poster for Olivetti
(plate 187). Matter's works are actuallyphotomontagesthat
appear to be fortuitouslycomposed photographs. While, at
first glancethese posters seem to be colorphotographs,they
are in fact tinted black-and-whiteimages. Other examplesare
the BMW Motorrader poster by Popp-Kircheimof c. 1935
(plate 176) and the fascinatingposter for Goodyeartires of
c. 1932(plate 177),where a colossaltire is inserted amonga
Figure33. Turbines,fromL'EspritNouveau.No. 24, 1925.The Museumof
row of parked cars, and the volumetrictypographyis neatly
ModernArt Library,New York laidout in perspective and integrated into the street scene.
From approximately1920 onward the Swiss developeda
style of commercialposter that built upon the work of Lucian
Bernhard, featuringonly the product and brand name. How
/ ever, unlikeBernhard, their renderingstyle tended to imitate
photography,as in the work of Baumberger,Alex W. Dig-
gelmann, and Pierre Gauchat. While extremely handsome,
this did make the Swiss product posters more prosaic and
middle-classthan the powerfullyrendered work of Bernhard.
In one respect Baumbergertook Bernhard'sformulaa step
further inPAZ, a poster of 1923(plate 188).A closeupviewof
a man's tweed jacket, it features only the store label on the
lapel of the coat. Other formalvariationson this genre con
tinued into the late 1940s.
The rise of fascismin Europe, amongother things, was to
cause a significanttransfer of artistic talent to Americain the
1930sand early 1940s.Mondrianand MarcelDuchampsettled
in NewYork.The architects Gropiusand MarcelBreuer came
to teach at Harvard,and LudwigMies vander Roheto Armour
Institute (later IllinoisInstitute of Technology).Amongthe
manyimmigrantsin graphicsanddesignwere Bayer,Bernhard,
Joseph Binder, Brodovitch,Jean Carlu, Gyorgy Kepes, Leo
Lionni,Matter, Moholy-Nagy,Schawinsky,and LatislavSut-
nar. Through their influenceas teachers they contributedto
America'swidespreadacceptanceofmodernisminthe postwar
years.
As is evidentfromthe workof Carluand Lionni,a numberof
these designers foundimmediateuse for their talents design
ing war posters. The Museumof ModernArt was one of the
sponsors of a war-poster competitionin 1942won by Victor
Figure34. FernandLeger.Maquettefor a poster forLa Roue.1920.Gouache, Anconaand Karl Koehlerwith This Is theEnemy, featuringa
l2Vi x 9%".Private collection caricature of a Nazi with a hanged man reflected in his eye-

33
glasses (plate 193). Ironically, a German poster designed by of the expatriate designers) and in Switzerland, where Billand
Hohlwein as early as 1929 for the fascistic veterans' Stahlhelm Ballmer, among others, were still active as practitioners and
Party and later used as a campaign poster by the Nazis in 1932, pedagogues. Switzerland, which consolidated and developed
presents an even more frightening picture (plate 192). Among further this formalist inheritance, emerged in the late 1950s
the most memorable American war posters is Ben Shahn's and 1960s as perhaps the most influential center of graphic
This Is Nazi Brutality of 1943 (plate 194), with its grim tele design. Many factors contributed to making Swiss graphics
type message. internationally preeminent. Among these were a technically
The end of the war brought other serious issues to the fore, advanced and highly skilled printing industry that had con
among them voter registration and civil rights (plate 198), tinued to develop while the rest of Europe was devastated by
polio, and nuclear annihilation. While Bayer's Polio Research the war, and a strong tradition of graphic design going back to
and Das Wunder des Lebens (plates 199, 200) were eloquent the beginning of the century that had been further nurtured by
reminders of the rapid and impressive scientific and medical extensive contact with the Bauhaus. The active encourage
advances taking place in this period, Hans Emi's early protest ment of poster design by the Swiss government, at national
against atomic war (plate 201) makes clear that these advances and local levels, and the institution of an annual competition to
were double-edged. promote poster design, were significant, as were the found
ings of such important journals as Graphis in 1944 and New
Tl he reaction against avant-garde modernism in the Graphic Design in 1958. The schools of applied arts in Basel
1930s, as well as the enormous destruction and disloca and in Zurich became internationally important educational
tions caused by the Second World War, led to a disrup centers for graphic design. A number of new typefaces were
tion of the modernist enterprise. However, the more "tradi developed in the 1950s by Swiss designers. The most popular
tional" artistic tastes of the fascist and communist regimes was known as Helvetica, a refined version of Akzidenz Gro-
gave the modem movement a whole new status after the war: tesk, a nineteenth-century sans serif typeface. Its widespread
it emerged as the preferred art of the free democratic world. use became integral to the clarity and easy legibility of the
Painters of the School of Paris gained new international Swiss graphic style.
recognition. The loosening of the strict, formal compositional Among the younger Swiss designers who emerged in the
concerns of the 1930s became even more pronounced after the 1950s as important innovators were Armin Hofmann and Josef
war, when art moved toward a lyrical abstraction with a new Miiller-Brockmann, who taught at Basel and Zurich, respec
emphasis on painterly qualities such as texture and the free tively. Miiller-Brockmann'sMusica Vivaand Hofmann's exhibi
gesture of the artist's hand. This new sensibility, in Paris and tion poster Robert Jacobsen, Serge Poliakoff (plates 227, 228)
elsewhere, was to exercise considerable influence on graphic demonstrate continuity with the traditions of the 1920s as well
designers. In this regard one thinks especially of the cutouts of as the rigor with which they pursued their craft. They also
Henri Matisse, the playful biomorphism of Joan Miro, and the made a major contribution in combining typography and pho
earlier, lyrical drawings and watercolors of Paul Klee. In gen tography to achieve a powerful visual impact. Hofmann's
eral, the brightly colored, the playful, and the informal came to Wilhelm Tell (plate 229), Miiller-Brockmann's plea for less
dominate postwar European art and graphic design. Instead of noise pollution, WenigerLarm (plate 232), and Karl Gerstner's
the call for a new order of the previous generation, the empha politicalposter AuchDu bist liberal (plate 233) are examples of
sis was on light entertainment, now presented in the context of the genre. Two purely typographic posters are Miiller-
modernism. Indicative of one aspect of the new spirit was the Brockmann's Der Film (plate 230), which achieves a sense of
work of Raymond Savignac (figure 35), whose simplified il movement through overlapping type, and the somewhat later
lustration style spread from France as far as Poland and the poster by Max Huber for the Gran Premio automobile race at
United States. Another aspect, more clearly related to de Monza, with its blurred type suggesting speeding cars (plate
velopments in painting, was represented by the work of the 231).
American Paul Rand (figure 36). Just as American corporations adopted modem architecture
At the same time, Bauhaus and Constructivist influences in the 1950s, they adopted modem graphic design, which
retained a foothold in the United States (owing to the influence gradually went beyond the sponsorship of poster campaigns to

34
 the developmentof a uniform graphic identity for a whole for corporate design programs, Americangraphic designers
corporation.The pioneeringefforts of Troponand AEGat the took their inspirationfrom a number of other sources as well.
beginningof the century were finallybecominga realityin the Surrealismand assemblagein various forms have influenced
commercialfield. Crisp, gridded,neatly organizedgraphics— the work of Americandesigners such as Saul Bass, Cherma-
simpleand abstract—suited the corporateworldjust as glass- yeff, AlvinLustig (figure37), Rand, and Georges Tschemy.
and-steel curtain-wallarchitecture did. It was coollyanony Amongthe most inventiveand poetic works of the early
mous and exuded efficiencyand economy.In the process, of postwarperiodare the posters for Olivettiby GiovanniPintori.
course, avant-gardegraphicdesign underwent a transforma His 1947photographicposter, featuringan abacus with a few
tion. It lost its intensityand some of its experimentalquality. flowersrandomlyattached(plate207),projectsa subtlepoetry
Nevertheless, corporate patronagehas been responsiblefor that set a standardfor enlightenedpostwarcorporateadvertis
muchdesignof highqualityand has resulted in recent decades ing in its use of an indirectsymbolto project an imageof the
in some of the best American posters. Ivan Chermayeffs company.In contrast, the handsomecorporate posters done
inventiveposter designfor the MeadPaper Company'sannual- by Bayer for Olivettiin 1953and by Matter for Knollin 1957
report competition(plate210)underscoresthis fact. The Con (plates 206, 208) clearly retain the formal approach of the
tainer Corporationof Americawas a pioneerin commissioning Bauhaus. In this regard, it is also interesting to contrast
gooddesigners to do posters, as were Knoll,GeneralDynam Bayer'sOlivettiposter withFilm by Fritz Biihlerof 1945(plate
ics, HermanMiller,andIBM.However,the purposeofmost of 205),a remarkablyearlyuse of enlargedduotonephotography,
these campaignswas to enhancethe imageof the corporation displayinga pattern of dots. Here one maysee the first indica
rather than sell specificproducts. tions of the impendingshiftfroma mechanisticto an electronic
Whilethe influenceof the Swisswas substantial,particularly sensibility.

••H

L'EAUQUI FAIT
Figure35. RaymondSavignac.L'Eau quiFaitPschitt. 1950.Offsetlithograph, Figure36. PaulRand.SubwayPostersScore.1947.Offsetlithograph,4614x
3/t". 90V4x 63 The Museumof Modem Art, New York.Giftof the designer 29%".The Museumof ModemArt, New York.Giftof the designer

35
 The new lyricalabstractionproducedsome extremelyinter
esting typographicwork, as in a 1950poster for Olivettiby
Pintoriandan exhibitionposter by WinfredGaulof 1960(plates
215,216),withoverallrandomarrangementsof differentsized
numbers and calligraphy.Fascinatingequivalentsare foundin
Japan in the work of RyuichiYamashiro,such as Forest Wood
(where the Japanese symbolfor a tree is repeated to create a
forest) of 1954,or the colorfulposter by Ikko Tanaka,Kanze
Noh Play, of 1961(plates 217, 218). Equally,Bruno Munari's
Campariposter, a typographiccollage(plate214),can be said
to share this sensibility.It is interestingto contrast this with
Huber's early work 7 CIAM (plate 212), with its rigorous
Bauhaus-inspiredlayout. Nevertheless, by his use of bright
colors Huber has giventhis work a light spirit much closer to
that of his contemporaries.
Increasingly mannered experimentation in typographic
poster design emerged in the mid-1960s.Positive-negative
transformationsusingdot-matrixpatterns, the deconstruction
of titles, or their metamorphosesfrom mechanicallyset type
into roughcalligraphy,allproducedfascinatingresults. Whilea Figure37. AlvinLustigandJayConnor.Designfor the coverofThreeTragedies
numberof these manifestationsgrewout offormaltypographic by GarciaLorca.NewYork:NewDirections,1949.8Y2x 6".CollectionElaine
exercises and were mostlydone by designerstrainedin Swiss Lustig Cohen
graphics, it is of interest that this slightlyhallucinatoryty
pographicsensibilitycame into the publicarena almost at the Secession posters as well as from the contemporaryOp art
same time as the counterculturemovementof the mid-1960s. movement. Starting modestly with the San Francisco rock
The search for three-dimensionaleffects, rendered, in the impresario Bill Graham, who commissionedunknownlocal
case of MassimoVignelli'sposter for the thirty-secondVenice artists and designers to do posters advertisinghis concerts,
Biennale,or real, as in EmilioAmbasz'sGeigyGraphicsposter the elements of the style were,first crystallizedby Robert
(plates 222, 223), was another aspect of the effort to extend Wesley Wilson (plate 240). While many contributed to the
the formal range of typographic design. A. G. Fronzoni's vitalityof the movement,Victor Moscosowas master of the
poster Fontana, GalleriaLa Polena, for an artist whose spe genre, bringing to it a technique, skill, and formal in
cialtywas slittinghis canvases, achieveda strikingeffect with ventiveness that still dazzles (plates 239, 242-245, 247).
its text printed as if it had been splitin the middle(plate 224). Ironically,although he is known principallyfor his work in
Twoposters that summarizeanotheraspect ofthe 1950sand psychedelicrock posters, Moscosowas not a Haight-Ashbury
early 1960sare Pieter Brattinga'sPTT (plate234)andFrieder autodidact.He had studiedat YalewithAlbers, whose famous
and Renata Grindler'sKaspar (plate 235). They beautifully Bauhaus-inspiredcolor course, among other things, taught
capture the sense of anonymityof a period that seemed to be students howto achievevibratingeffectswithdifferentcolors.
dominatedby corporate culture. In other ways the Grindlers' While Op art, which also came out of these courses, and
poster anticipatesthe new psychedelicsensibility. emergingcomputergraphicssharedthe staccatovisualeffects
The counterculturemovementof the mid-1960swas one of of the psychedelicposter, they differedin being essentially
the few popularmovementsto generate its own visualstyle, impersonal.Nevertheless, the psychedelicposter influenced
the psychedelicposter. The inspirationfor this art was di corporate graphicsand the design professionin general.
verse, but basic to it was the synergisticcombinationof rock The Pop art aesthetic came from the everyday world of
musicand hallucinogenic drugs. Moreformalvisualinspiration commercialart andartifactsofconsumerculture.ClaesOlden
came from the rediscovery of Art Nouveau and Viennese burg transformedordinaryobjects into soft or colossalsculp-

36
 tures, or both; Roy Lichtensteinappropriateda cartoon ren tions havebecomeimportantpatrons of artists and the poster
dering style for his paintings;and James Rosenquistpainted has been a primevehiclefor fineartists to achievenationaland
billboard-sizemontages of consumer objects. Andy Warhol internationalrecognition.Surrealismandan art of the macabre
was both the most obvious and the most obliqueof these are the principaland most durabletraditionsrunningthrough
artists, appropriatingcommercialobjects directly,on the one this work, which, since its emergence in the 1950s,has pro
hand, or mirroringmass-mediaphotographicimages in silk- duced many memorable and haunting images (plates
screen prints, on the other. The transformationof commercial 267-274).
art to highart was applaudedby an audiencethat seemed both The Japanese, havingbeen a majorinfluenceon the poster
attracted by and repelledby consumerism.At another time or mediumthroughtheir ownprints, manyof whichwere, in fact,
place Warhol(who spent his early career in commercialart) used as advertisingposters in the nineteenth century, have
might have rendered soup cans as advertisements for the again emerged as a major force in poster design. Japanese
CampbellSoup Companyand perhaps been applaudedas a designers adopted a modern Constructivist-influenced mode
worthy successor to LucianBernhard. But in the complexart for commercialposters as earlyas the 1930s.After the Second
climate of the 1960s in America the deadpan rendering of WorldWar, designers such as Yusaku Kamekura and Ikko
Campbell'sTomatoSoup became first an icon of consumer Tanakaset a high standardin graphicdesignthat continuesto
culture, and second, an advertisement,not for soup but for an this day. While both have been internationalin orientation,
exhibitionof the work of Warhol(plate 254). Tanakahas sought to reconcilemodernismwith more tradi
Pop art evincedsome of the ironicand sometimes cynical tionalJapanese motifs, as did RyuichiYamashiro.
stance of Dada, and it was not a coincidencethat the work of The emergence of TadanoriYokooto prominencein the
Marcel Duchampwas rediscoveredat the time. Warholalso mid-1960sinJapanmarked the arrivalof a distinctivetalent in
had the ability to select icons and serve them back to his graphicsthat coincidedwiththe counterculturemovementand
audience loaded with associations. The pig painted with Pop art. Like the psychedelicposter designers and the Pop
flowersused in a poster for a color scanner is a case in point artists Yokoohas an eclectic approach.The sources for and
(plate 256). In 1968pigs were often equated with repressive influenceson his work are numerous: he draws on comics,
police, but a pig painted with flowers providedassociations commercialart, Japanese prints, and Western and Oriental
with the flower children of Haight-Ashburyas well as the religiousart for inspiration,combiningthem in unexpected
decorated piggybank of childhood. ways in his posters (plates 275-279).
WhilePop art drewheavilyon commercialart for its iconog The Japanesehavebroughtcoloroffsetlithographicprinting
raphy and technique, it, in turn, influencedcommercialart. to new heights of refinementand technicalskill.This is appar
The poster 7 Up, designedby RobertAbelin 1975(plate259), ent not onlyin Yokoo'sworkbut alsoin the workof KoichiSato
is blatantlycommercialin a manner celebrated by Pop art, where remarkablysubtle colorgradationshave been achieved
whichit consciouslymimics. (plates 281, 297). This is also true of photographicposters
The exuberanceof the late 1960shad a flipside in serious such as the soft-focusnudes of MasatoshiTodafor the Parco
concerns regarding, among other things, revolutionin Latin department store or Takao Sasai for a beauty contest for
America and the war in Vietnam. American confidenceis hands,Handle Me, both of whichexhibita smoothand sensual
capturedin a 1963poster ior Lifemagazineby DennisWheeler renditionof skin (plates 283, 284).
whichsuggests in a subtlefashionthat Castrois aboutto topple The best Germanwork of the 1970sand 1980shas followed
(plate264). Events, of course, took a differentturn, and some a differenttraditionfromthat of the Bauhauswithits emphasis
years later it seemed that the Cubanrevolution,conspicuously on typography,abstraction, and formalcomposition.Rather,
symbolizedby Che Guevara,mightspreadallover LatinAmer designers such as GiintherKieser, Uwe Loesch, and Gunter
ica (plate263).The finalblowto America'sself-imagewas dealt Rambow,allof whomstudiedat the influentialschoolofapplied
by the Vietnamwar. The posters End Bad Breath by Seymour arts in Kassel, are closest to the traditionofBerlinDadaand, in
ChwastandSendOur BoysHomeby Cristos Gianakossuggest particular,to the workofJohnHeartfield.Photographyis their
both its humblingeffect and its tragedy (plates 265, 266). favored medium, which they use in various ways from a
In Poland,the theater, the circus, and other culturalinstitu straight photographof a staged situationto photomontageto

37
manipulationsof the photographicimage.AlthoughRambow's Herbert Matter's famous work Fur schdneAutofahrten die
UtopieDynamit(plate 291)is an advertisementfor a literary Schweiz(plate 179).Greiman,who has also drawninspiration
publicationand not a call for corporate demolition,it has the fromRussianConstructivism,has most recentlybeen design
strident qualityof a Heartfield.Kieser's poster Der stillgelegte ing with a computer (plate 298).
Menschat first appears as a straightforwardphotographof a However,the modem graphictraditionin Switzerlandhas
man, his face covered with pasted-on pills and wearing an retained more vitality than its critics have acknowledged.
appropriatelysillysmile.In fact, the figureis a constructeddoll NiklausTroxler is one designer who, drawing upon its ty
(plate286). Loesch'sPunktum (plate287),withits close-upof pographictraditions,has givenit a new energy.Ajazzenthusi
part of a woman'sfacewitha brownmark, sets up a fascinating ast, Troxler started a successfuljazz festival in Mohren for
ambiguity:Is it a beauty mark or a cigarette bum? whichhe has designednumerousposters. In his McCoyTyner
The poster by the Swissdesigner ChristoffMartinHofstet- SextetandA Tributeto the Music of TheloniousMonk (plates
ter for an exhibitionof work by artists exiledfrom Germanyin 294, 295), Troxler expressed the staccato rhythms and the
the 1930sis in the same genre, with its evocativeview of a mood of the performance in what are essentiallypurely ty
gallerywallfrom whichartists' work has been removed(plate pographic posters. Like WilhelmWenk's 1925 poster Ein
288). The group in the SocialRealistpaintingthat remainson neues Tellenspiel(plate 118),in whichthe type suggests the
the wallconveysa moodof sadness, as if they were mourning image of a crossbow,Troxler'sposter outlines the profileof
the exile of the artists in question. In an ironicjuxtaposition, Monkwith the text itself. By varyingthe colorsof the letters,
HelmutSchmidt-Rhen's1978poster for an exhibitionof work he animatesthe silhouetteandevokesthe murkylightingofthe
by AmericanNeo-Realistpainters features a RichardEstes performance.
painting partly obscured by a milky film overlay,with the Socialand environmentalorganizationshave becomemajor
poster text void in the film. This not only plays with the re clientsofposter designersinrecent times. Peace, nuclearwar,
flectivetransparenciesof Estes's paintingbut turns the Neo- hunger, and environmentalissues have allbecome topics that
Realistpaintinginto a highlyabstract composition(plate289). haveinspireddesignersto numerousexcellentandprovocative
If the psychedelicposter represented a spontaneouspopu posters. Among the most poignant is a work by Yusaku
lar revoltagainstmodernistdesign,and Pop art a similarrevolt Kamekura,HiroshimaAppeals(plate 290), with burningbut
by artists, the work of WolfgangWeingartand a numberof his terflies rainingdownfrom the sky. The delicacyof the colors
former students, among them April Greiman, represents a belies the horror of the scene. Two.of the starkest and most
revolt of a similarnature withinthe graphic-designestablish powerfulposters of this genre are byJukkaVeistolaof Finland:
ment itself. Weingart, a German who studied at Basel and one focusingon world hunger for UNICEF (plate 292) that
stayedon to teach withHofmann,managedthe delicatetask of features an emptyplate witha mass of spoonscrowdingaround
turningmost of the unwrittenrules of modem Swissgraphics it, the other (with TapioSalmelainen)protesting the use of
on their heads in his own work while teaching in its inner DDT,with a bird wearinga gas mask and singing"DiDiTyy!"
sanctum.Simplicity,order, clarity,andlegibility—allhallmarks (plate293). The macabrehumor of the latter makes the point
of the best Swiss design—have been replaced with a visual all too clearly.
complexitythat requires detailedattention. Like Dada, one of It is ironic, but also a sign of vitality,that at the present
the aimsof his work has been to challengeand subvert a well- moment,withprintingtechnologyand computercapabilitiesof
established tradition. Assemblages of complex overlapping unprecedented sophisticationat their disposal, a number of
film patterns, grids, calligraphy,scribbles, and photographs graphicdesigners from differentcountries are goingback to
are the elements of Weingart'swork. Only the neat typeset the very beginningsof typographyand illustrationfor inspira
titles seem to stillindicatethe workhas comeout of the Swiss tion, to graffitiand the primitivescribble of the hand. The
tradition. Weingart'sposter for the exhibitionDas Schweizer poster On Y Va by the design group Grapus (plate 301),
Plakat, perhaps his best-knownwork (plate 296), is fascinat advertisinga festivalin Ivry sponsoredby the Frenchcommu
ing in another respect. By means of shifting, abstract film nist youthmovement,is a fascinatingexample.Growingpartly
patterns and jagged lines he conjuresup the Swiss mountain out of the traditionof Frenchprotest posters of the late 1960s,
landscape, suggestingthat the poster may be an homage to it cultivates a spontaneous look achievedby the immediate

38
impact of the slogan On YVa, a standard expression, and by have done, the imminent demise of the poster medium one
the scribbled subtext added to it, which augments the message must separate its commercial function from its other roles.
and allows a double reading. The first is ostensibly the purpose The poster's commercial use has always been only one of its
of the poster: "Let's Go—Everybody to Ivry, to the Party." aspects. It is equally significant as a reproducible popular
The other is clearly a political message: "Let's Go—Toward cultural medium that can be used by all—from large institu
Change." tions to small cultural or politicalmovements and individuals—
to give visual expression to their ideas and beliefs. That cannot
Throughout its century-long history the poster has be said of television, radio, or the press.
proved to be a remarkably resilient medium, adapting Its unique position at the intersection of different artistic
itself to a variety of aesthetics and uses. While no mediums; fine and applied arts; handicrafts and mass produc
longer the principal vehicle for commercial advertising (having tion; culture, politics, and commerce; and, not least of all,
been replaced by the illustrated press, radio, and television), it artist and mass audience has brought many of the most am
remains important commercially in several contexts, most bitious and visionary artists, architects, and designers of the
notably in public environments such as bus, railroad, and twentieth century to the medium. They have seen the poster
subway stations, college campuses, and also along highways in as a vehicle for getting out into the streets, beyond the salons
the form of the billboard. and the museums, and engaging the world. Involved in every
In general, the aesthetic vitality of the commercial poster day cultural, political, or commercial issues, the poster at its
has declined, although occasionally a corporation commissions best has been, and continues to be, an extraordinary social and
a campaign that surprises. But rather than deplore, as many artistic document.

N O T ES
1. GuillaumeApollinaire,"Zone," Les Soireesde Paris (December Le Figaro (Paris), February24, 1909.
1912);reprintedin OeuvresCompletesde GuillaumeApollinaire. 5. Ibid., p. 42.
Paris: AndreBallandet JacquesLecat, 1966,p. 55. 6. A. CongerGoodyear,"The Directors'1929'Plan," TheMuseum
2. The Museumof ModemArt first focusedon the poster medium ofModernArt: TheFirst TenYears.NewYork,1943,AppendixA,
in its 1933Typography Competition:20 BestPostersSubmittedby pp. 137-139.
AmericanPrintersfor Museum Use. The entries were acquired 7. Marinetti,op. cit., p. 42.
by the Museum at that time but later deaccessioned.In 1935 8. El Lissitzky, quoted in Herbert Spencer, Pioneers of Modem
twenty-sixposters (24by A. M. Cassandre,1 by ChristaEhrlich) Typography. New York:HastingsHouse, 1970,p. 1.
entered the permanent collection. 9. El Lissitzky,"OurBook,"Gutenburg-Jahrbuch (Mainz),1926-27;
3. A NewArt Museum,a brochureissued by the Museum'sfound reprintedin SophieLissitzky-Kuppers,El Lissitzky:Life,Letters,
ers in 1929, quoted in Alfred H. Barr, Jr., "Chronicleof the Texts.Greenwich,Conn.: NewYorkGraphicSocietyLtd., 1968,
Collection," inPaintingand Sculpturein TheMuseumofModern p. 359.
Art, 1929-1967.New York:The Museumof ModemArt, 1977, 10. ROSTAis an acronymfor Rossiiskoetelegrafnoeagentstvo(Rus
p. 620. sian TelegraphAgency).
4. FilippoTommasoMarinetti, ManifestoofFuturism(February20, 11. VKhUTEMASis an acronym for Vysshiekhudozhestvenno-
1909), in R. W. Flint (ed.), Marinetti: SelectedWritings.New teknicheskiemasterskie(Higher Artistic and Technical
York:Farrar, Straus and Giroux,1971,p. 42. First publishedin Studios).

39
 Plates
Note: In the captions, each poster is identifiedby a plate
numberand a title, followingthe name of the designer.Except
for Russian and Japanese posters, the title is given as it
appears on the work itself, followedwhen necessary by an
Englishtranslationin italics. For some works, additionaltext
appearsin italicstowardthe end ofthe caption.Dimensionsare
givenin inches or in feet and inches, height precedingwidth.
Allposters are inthe collectionofThe MuseumofModernArt,
NewYork,andwere acquiredby giftor purchase,as indicated.
Where it has seemed useful, the purpose of the poster is also
given. Additionalinformationon the designers appears in the
Index of Illustrations.

41
 Jules Cheret
1 Les Girard
1879
Lithograph
22% x 17"
Acquired by exchange

Cabaret poster

42
 Jules Cheret

FOL1ES-BERGERE 2 Folies-Bergere, La Loi'e Fuller

1893
Lithograph
48Vi x 34W
Acquired by exchange

Theater poster

UfUlUXtC") ' - ImpCHAIX Utthirs Cheret) to RueBtrtjtre Pa*is

43
 Henri de Toulouse-Lautrec Henri de Toulouse-Lautrec
3 Aristide Bruant dans son Cabaret 4 Jane Avril
Aristide Bruant in His Cabaret 1893
1893 Lithograph
Lithograph 49ys x 36W
53% x 37W Gift of A. Conger Goodyear
Gift of Emilio Sanchez
Cabaret poster
 Henri de Toulouse-Lautrec
5 Divan Japonais
1893
Lithograph
31% x 24%"
Abby Aldrich Rockefeller Fund
'W&7)e^l%ui^o
Cabaret poster

. '"1
Ps^ *>v
IHill
<( <
l^'Vw>
,^V«<J

W> //>( Ancoupi. pap/s

45
 Pierre Bonnard Pierre Bonnard Pierre Bonnard
6 France-Champagne 7 Les Peintres Graveurs 8 La Revue Blanche
1891 The Painter-Engravers 1894
Lithograph 1896 Lithograph
30% x 23" Lithograph 31% x 24W
Purchase fund 251/2 x 18%" Abby Aldrich Rockefeller Fund
Purchase fund
Advertisement for champagne Poster for a magazine
Exhibition poster

EXP OS 1HON
^ 15

BETTE-TINOIIEIIX-IEZ-REIMS
too.*-**
MCmr* C*S3fcuojS'fiMsP/MS
' BUREAU
B£REPRESENTATIONS
8.ruedelisly Paris «•"iaffit Imfi pa*. AC^I

46
 i A Revue PAR ait CHApue *>101S

e *n° j bo^Iavi* 1 n.LfcffttU

'*«tUj u Li
etiveisiT c PaR^owt
LI
| l>l«n
r*v\)f >WU ( rrvL" U)11

* ?» uf ^
8 [ y
4,R " V*n
-a
V4'v W< ^
(•VLf
u
< *"»« Itliad,,

1 E2* kU«kr

«f Mo*

Triptdw'flncfiurt Pmt

47
Alphonse Mucha

1897
Lithograph
61Via x 40%"
Gift of Lillian Nassau

Advertisement for
cigarette paper

IMP. F. CHAMPEN0I9' 66 Boui° S' Michel PARIS

 Alphonse Mucha Manuel Orazi
10 XXme Exposition du Salon des Cent 11 Theatre de Loie Fuller, THEATRE DE
1896 Exposition Universelle

Lithograph 1900

25Va x 17" Lithograph

Gift of Ludwig Charell 781/2 x 251/4"

Gift of Joseph H. Heil
Exhibition poster
Theater poster

wm

If toBCg fytree^O
<34roe Qor>j\p?vrTe - ~P?\.ri^s
tVichrsAiiistwesMKHUnORAZI

49
 A. A. Turbayne Aubrey Beardsley
12 Macmillan's Illustrated 13 Avenue Theatre, A Comedy
Standard Novels of Sighs!

1896 1894

PeAC0CK'€DITI0N
J aeon nt
Lithograph
34Ys x 22 W
Acquired by exchange
Lithograph
29 V2 x 19W

Acquired
and letterpress

by exchange

Northumberland Avenue, Charing: Cross, W.C.

Manager - Mr. C. T. H. HELMSLEY

ON THURSDAY,March 29th, 1894,

A New and Original Comedy, in Four Acts, entitled,

A Copt
orSIGHS!
Major Chillingworth
By
Sir Geoffrey Brandon. Bart.
-
JOHN TODHUNTER.

-
-Mr. BERNARD GOULD
Mr. YORKE STEPHENS
Rev. Horace Greenwell - - Mr. JAMES WELCH
Williams Mr LANGDON
Lady Brandon (Carmen) - - Miss FLORENCE FARR

/6 CLOTHUNCCIT
€DG€S'-3
Mrs. Chillingworth - - Miss VANE FEATHERSTON
Lucy Vernon ----- Miss ENID ERLE

Scene
- THE
DRAWING-ROOM
ATS0UTHW00D
MANOR
ACT I. - - AFTER BREAKFAST
ACT II. - * AFTER LUNCH
ACT III. - BEFORE DINNER
ACT IV. AFTER DINNER

Preceded at Eight o'clock by

A New and Original Play, in One Act, entitled.

islillMSDESl By \IV. B. YEATS.

FRASER. Miss CHARLOTTE MORLAND. & Miss DOROTHY PAGET.

PRICES:-- Private Boxes, £1 Is. to £4 4s. Stalls, IOs.6d.

Balcony Stalls. 7s. Dress Circle. 5s. Upper Circle (Riartid),3s
Pit, 2s.6d. Gallery, Is.
 Charles Rennie Mackintosh
14 The Scottish Musical Review
1896
Lithograph
97 x 39"
Acquired by exchange
 The Beggarstaffs: William
Nicholson and James Pryde
15 Rowntree's Elect Cocoa
1895
Lithograph
38 x 28%"
Gift of Mr. and Mrs.
Arthur A. Cohen

The Beggarstaffs: William

Rowntrees
Nicholson and James Pryde
16 The Black and White Gallery,
Louis Meyer
Elect
Cocoa
c. 1901
Collotype
19 x 26"
Don Page Fund

Advertisement for an art gallery

Louis Meyer

52
 The Beggarstaffs: William
Nicholson and James Pryde
17 Hamlet.
1894
Stencil
67% x 28%"
mmw* Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund,
Jack Banning, and by exchange

•JsC.

53
 Will Bradley Will Bradley
18 The Chap Book 19 The Chap-Book
1895 1895
Line block Lithograph
21V* x 14" 22 x 15W
Acquired by exchange Acquired by exchange

Poster for a magazine Poster for a magazine

 Will Bradley
20 Victor Bicycles
c. 1895
Lithograph
27 x 40W
Gift of The Metropolitan
Museum of Art in honor of
Leonard A. Lauder

VICTORBICYCLES
' - * *

p— L \vH '

jjgMf
*'
OVERMANWHEELCO.
Boston* NewYork* Detroit* Denver*
San Francisco* LosAngeles* Portland ore
 Frank Hazenplug
21 The Chap-Book
1895
Lithograph
21Va x 13W
Acquired by exchange

Poster for a magazine

Edward Penfield
22 Harper's March
1897
Lithograph
14 x 19"
Gift of Poster Originals

CHA^
BOOK
 Designer unknown
23 Victor Cycles
1898
Lithograph

28% x 19%"
Gift of The Lauder Foundation

Copyright.
1838.
by0»erm6n Ca.
Wheel chicop«
Fails. *.
».st.u.s

57
 James Ensor Jan Toorop
24 Salon des Cent, James Ensor 25 Delftsche Slaolie
1898 Delft Salad Oil
Lithograph 1895
C alon des PARIS
Cent
31,rue Bonaparte,
XPOSITION
DE b'OEUVRE JAMES
DEENSOR 25Vi6 x 17W Lithograph
Gift of Ludwig Charell 36Vi x 24W

5 \rO Exhibition poster

Acquired by exchange

>j r&r>
\ &v,

"" S.UNKHOUTiC!

58
 Jan Toorop
26 Het Hoogeland Beekbergen

1896
Lithograph
36^4 x 27"

Given anonymously

Poster for Het Hoogeland

psychiatric institute

8.LMKI

i — • _:

59
 Carlos Schwabe
27 Salon Rose+ Croix
1892
Lithograph
78 x 3W
Given anonymously

Exhibition poster

STHWABF

.? SkM LtpfIUfiEb
OVVFRTVRF
VI WDR FD1
S 1/ \a!,VF ' A"
DlMAWCHE

onusin » usieim,imp 1/lfWOM.lUCOUPiriOUXa

rnilUMD
sc

60
 Johannes Sluyters J. J. Christian Lebeau
28 Zegepraal 29 De Magier

Victory The Wizard

1904 c. 1914

Lithograph Lithograph

45% x 25%" 50Vi6 x 35%"

Gift of The Lauder Foundation, Acquired by exchange

Leonard and Evelyn Lauder Fund
Theater poster
Poster for a novel
 Thomas Theodor Heine
30 Simplicissimus

1897
Lithograph

30 x 20 W
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Poster for a satirical journal

 Akseli Gallen-Kallela
31 Bilaktie Bol
1907
Lithograph

34V* x 45"
Purchase fund and gift of Aivi
and Pirkko Gallen-Kallela

Advertisement for an
automobile company

A.B.-F.TILGMAMH
H=F0RS.

63
 Emile Preetorius
32 Licht und Schatten
breeforius
io
Light and Shadow

1910
Lithograph
11% x 8%"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Poster for an art and

poetry magazine

Jan Preisler
33 Worpswede
1903
Lithograph
31% x 43%"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund
idii und
Exhibition poster Sdiaften
g
Bhetta Jeden 20£fg.

IX;W5TAVA
5P0L
ODSZmiD018ftl'J^®«
KIN5KEH0
ZOHRADA'
V5TUP1J

Imtdes beaux-art;SoO/aanes
prague-bhhsk

64
 Fritz Boscovits
34 Bilz Brause
1913
Lithograph
50Vfex 38W
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Advertisement for a beverage

Henri Meunier
35 Pollet et Vittet, Chocolaterie
de Pepinster
c. 1896
Lithograph
19 x 26W
Gift of Joseph H. Heil

Advertisement for cocoa

65
 Josef Rudolf Witzel Hector Guimard
36 Jugend 37 Exposition Salon du Figaro,

1896 Le Castel Beranger

Lithograph 1900

27% x 45VV Lithograph

Acquired by exchange 35 x 49V4"

Gift of Lillian Nassau
Poster for a weekly magazine
Exhibition poster

UNUi mm
%

HIER N

66
 mmmm jmmm

-ffion iubl.vuE.
c* erOe* wax @£?

r . « •—v^..
 JOHANTHORN-PRIKKER
38 Hollandische Kunstausstellung
Dutch Art Exhibition
1903
Lithograph
33% x 47%"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

HOLLANDISCHE
KUNSTAUSSTE
inKREFELD VOHZOHAI
BIS2 AUCUST
1903INKAISER
WILHELUHUSEUM
4^

68
 Richard Harlfinger Otto Morach
39 SecessionPlakat Ausstellung 40 Schweizer Werkbund Ausstellung
SecessionPoster Exhibition SwissWerkbund Exhibition
1913 1918
Lithograph Lithograph
24% x 18%" 47% x 35W
Acquired by exchange Peter Stone Poster Fund

/CHWEIZERi
WERKBUND
AU//TE1 LLUNG

ARB€IT€R. UND MITTGL/TAND/

WOHNUNGGN KLGINKUN/T
W6CH/6LNDG AU//TGLLU NG6N
18-MAI - ZURICH-31-AUG-
 Gustav Klimt Joseph Maria Olbrich
41 1. Kunstausstellung Secession 42 Secession
First Secession Exhibition 1898
1898 Lithograph
Lithograph 30% x 20%"
25 x 18W Acquired by exchange
Gift of Bates Lowry
Poster for second Secession
exhibition

VER ^ACRVM

SECESSION
OVJTAV
KLI/AT-
IWflAVHTCIiWC
5
VEREIMICVnIG
""Jjgj
KVhlSTLER'OE^rERREICH^
-
I-KUN5WtfTEUVN C
DE.R
VE.KEINIGVN'G BILDENDER KUN/TLEK OjTERRElCH}- WIENWIENZEILE- V0M"12'
f (f F CCI I 1 EROFFNUNG
ENDE
AARZ NOVEMBERbijchde
DECEMBER-
IsJ LG/LJy I \l d iCHLVS):
/AITTEJUNE
!&»&% ii CARTFNBAU2EE5I
 Koloman Moser
43 Frommes Kalender
Religious Calendar
1898
Lithograph
37% x 24%"
Given anonymously

FROM Me,

zvBEiziE:nen dvrq iflit-E.

BVCJi=
V-rn PI MPLVrXGElTt)
II TH ANSI. A.BtRGtRWIIN8.

71
 Ferdinand Andri
44 XXV Ausstellung Secession
Twenty-fifth Secession Exhibition
1906
Lithograph
37 x 24W
Promised gift of Leonard A.
and Evelyn H. Lauder

UTH.v. DRVCK A.BERGER, WIEN

 Bertold Loffler
45 Kunstschau Wien
Art Show, Vienna
1908
Lithograph
14% x 19%"
Gift of Leonard A. and
Evelyn H. Lauder

Exhibition poster

f-h ; iv/} lm =i: u =i d^ m fimx.ja i

UTH «.DRIKK ALB.BEACER WliM VHI/i

73
 OSKARKOKOSCHKA Max Oppenheimer Egon Schiele
46 Kokoschka, Drama-Komoedie 47 Moderne Galerie, 48 Secession 49. Ausstellung

1907 Max Oppenheimer Forty-ninth Secession Exhibition

Lithograph 1911 1918

46% x 30" Lithograph Lithograph

Purchase fund 48% x 35%" 26% x 20%"

Gift of The Lauder Foundation Gift of Dr. and Mrs. Otto Kallir
Theater poster
Exhibition poster

tl'OPP.'S'*

74
 Ferdinand Hodler
49 Sechste Ausstellung der
Gesellschaft Schweizer. Maler,
Bildhauer u. Architekten
Sixth Exhibition of the Swiss Society
of Painters, Sculptors, and
Architects
1915
Lithograph
39% x 27%"
Purchase fund

Kurutka us r i< k
r-J \

Ausstdturi9 a^CeseKjckaft
cfvviL/
tiler. IT! altt, 8il<)hauer «.Artkifekten
wr feier ihrn. funfiio jdhri gcmi BesfehenJ
\*j 15 3^ October ; - —' - 3 October 1^15
Ciuph Antral ME

76
 L- /) ^ ^
mm
': fc.-.-j*.
«rafc--"-
;: - --^- ^--
Eduard Renggli
50 56. EidgendssischesTurnfestin
Basel
Fifty-sixth National Gymnastics
Festival in Basel
1912
Lithograph
v- ; 40 x 28V4"
Gift of The Lauder Foundation,
Leonard and EvelynLauder Fund

wyy *
' M&fs y/ ,
*
;'V 41
44 /% V:.vX
)

I ~' •
\ \
'*M%.w\ VYC-
•'"*-*"
~\ ^
- .A
\^ 1«•• \ ^
'v.*.

my**- a \^.-- —V. /

ymWy* i
- .--: •E&JSr•> 3-^v^S" 1 \ '?Mm --t.

• • *• & rJg
\
J

-'^R.-R iL.r*
>3k•
. jR| «
•
I
v.--r^RB -.•nMdR^R.

r
T
MMteMBMg 'Kf
i vi'ii]|. IB •
V '."V . >V' • 4 MB * 'Wm RSI

.
L -.^__ ; ' GRAPH. AWST; H Wfl^SERWANW, BASEL,

77
 Ludwig Hohlwein
51 Starnberger-See
Lake Starnberg
1910
Lithograph
36tt x 49W
Marshall Cogan Purchase Fund
and by exchange

Travel poster

xUnmets

auskunpt: verkehrsverbahd starnbergersee

78
 Emile Cardinaux
52 Zermatt
1908
Lithograph
40% x 28%"
Given anonymously

Travel poster

79
 THEATER
Restaurant
erstenRanges
Spaten=Bier
EigeneWein:
1 Kellerea

Ludwig Hohlwein
53 Deutsches Theater
1907
Lithograph
49Vi6 x 36"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund MAlS0N6.m.b.H.MUNCHtN

Advertisement for a restaurant

80
 Ludwig Hohlwein Ludwig Hohlwein
54 Damenconfectionshaus 55 Wilhelm Mozer
Mayer Sundheimer 1909
1909 Lithograph
Lithograph 49% x 34%"
49V4 x 35%" Gift of Peter Miiller-Munk
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund Advertisement for a catering
company
Advertisement for a
women's clothing store

DAMENCONFEC.
TiONSMAUSaOO
MAYEBi^S
SUNDHEIMER
THEATiNERSTR:9.10 MUNCHEN-NORD
SPORT=MODE adalbertstr. 3i*
TELEFOIM-.1936
REISETPAUER DELiKATESSEN
u.WEiNE
CONFECTIOri: DiNERS
iNuAUSSER
HAUSE,
DEM
REFRESHMENTS

» 11
InKkftmv'lHMdn it *NipliiMd»rem*s

81
 Ludwig Hohlwein Ludwig Hohlwein
56 Hermann Scherrer. Breechesmaker 57 Hermann Scherrer Sporting and
Sporting-Tailor Ladies-Tailor
1911 1908
Lithograph Lithograph
44V* x 31W 48V4 x 35W
Gift of Peter Miiller-Munk Gift of Peter Miiller-Munk

Hermann
Scherrer.
Breechesmaker
Sporting=Kailor nermann
MUnchen Scherrer
Neuhauserrtr.32 Sportingand
Udie/iauor
Munchen
Neuiiaiifer/IrK

(nUlUIAU!ll tnbli Whoifl VRtMKDmtU»!!H «» SW»s»lliO»

fiinbHMUNOiCK

82
 Ludwig Hohlwein
58 Confection Kehl
1908
Lithograph
48V5 x 36W
Gift of Peter Miiller-Munk

Advertisement for a men's

clothing store
lvowio:-:
MOHLWEIM

COnFEOION
KE-I-IL
marque; p||.|r
WiNIHTHHR
Hnterlor 2
 Ludwig Hohlwein Ludwig Hohlwein Ludwig Hohlwein
59 Kaffee Hag 60 Marco-Polo-Tee 61 Pelikan Kunstler-Farben
1913 1910 Pelikan Artists Paints
Lithograph Lithograph c. 1925
35% x 23%" 30% x 21W Lithograph
Gift of The Lauder Foundation, Gift of The Lauder Foundation, 21% x 16%"
Leonard and Evelyn Lauder Fund Leonard and Evelyn Lauder Fund Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund
Advertisement for decaffeinated Advertisement for tea
coffee

KAFI MAG

MARCO-POLO-TEE
VEREINIGTC DRUCKCRCICNo aom., i/nUHCHEN.

84
 I
-

Kunftler-Jarben
z

85
 SALAMANDER.
Ernst Deutsch
62 Salamander
1912
Lithograph
27% x 37%"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Advertisement for shoes

Lucian Bern hard

63 Stiller
1908
Lithograph
2714 x 3714"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Advertisement for a shoe store

FRIEOE.WALD
&.FRKKBerlin so.16-

86
 Lucian Bern hard
64 Manoli
1910
Lithograph
28 x 37W
Don Page Fund

Advertisement (or cigarettes

BERN
HARD

HOHERBAUMk^HMIDT bikun n 6A
 Jupp WlERTZ
65 AEG Drahtlampe

AEG Wire Lamp

c. 1915
Lithograph
28V4 x 37Va"
Purchase fund

Advertisement for an
electric company
 Lucian Bern hard
66 Osram AZO
c. 1910
Lithograph
27% x 37%"
Purchase fund

Advertisement for light bulbs

 Lucian Bernhard
67 Bosch-Licht
Bosch Light
1913
Lithograph
36V4 x 26W
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Advertisement for a lighting

company

BEAM
HOLLERBAUM
SCHMIDT•BERLIN N-6i>
HARD

90
Lucian Bernhard

Lithograph
17% x 251/4"

Gift of The Lauder Foundation,

Leonard and Evelyn Lauder Fund

Advertisement for a lighting

company
 Lucian Bern hard John Warner Norton
69 Das ist der Weg zum Frieden 70 Keep These off the U.S.A.
That Is the Way to Peace 1918
c. 1917 Lithograph
Lithograph 40% x 30V4"
25V4 x 18%" Acquired by exchange
Gift of Peter Miiller-Munk

That Is the Way to Peace —

the Enemies Want It So!
Subscribe to War Loans

92
 Rudi Sald Designer unknown [A. Yu.]
71 Die Gefahr des Bolschewismus 72 U.S.S.R.Tenth Anniversary.
The Danger of Bolshevism Our Good Wishes
1919 1927
Lithograph Lithograph
37% x 27%" 39 x 27%"
Gift of The Lauder Foundation, Given anonymously
Leonard and Evelyn Lauder Fund
 Max Pechstein Louis Raemaekers
73 An die Laterne 75 Tegen de Tariefwet
To the Lamppost Antitariff Act
c. 1920 1913
Lithograph Lithograph
28% x 37%" 38% x 30%"
Gift of The Lauder Foundation, Given anonymously
Leonard and Evelyn Lauder Fund
Antitariff Act, Don't
Political poster Fly into the Web!

Heinz Fuchs
74 Arbeiter Hunger Tod naht
Worker Starvation Is Approaching
1919
Lithograph
29% x 40%"
Gift of Peter Miiller-Munk

Worker Starvation Is Approaching.

Strike Destroys, Work Nourishes.
Do Your Duty. Work.

&
m.

94
 LITH. J.H.otBU55Y.AM5T

95
 mTi

Hans Poelzig (?)

76 Der Golem: Wie er in die Welt kam
The Golem: As He Came into the
World
1920
Lithograph
28Vi x 37"
Gift of Universum Film
Aktiengesellschaft
 .........

Kurt Wenzel
77 M
1931
Lithograph
56 x 37W
Acquired by exchange

Film poster

Stahl-Arpke
78 Das Cabinet des Dr. Caligari
The Cabinet of Dr. Caligari
1919
Lithograph
27V* x 37"
Gift of Universum Film
Aktiengesellschaft

Film poster

V#lT*
0 y * A EGIE
^OBEAT WlCHt

97
 Karl Michel
79 Faust
1927
Lithograph
551/4 x 36 W
Gift of Universum Film
Aktiengesellschaft

Film poster
 Schulz-Neudamm
80 Metropolis
1926
Lithograph
83 x 36W
Gift of Universum Film
Aktiengesellschaft

Film poster

MAftaSKSRIP T
EAvol rtApfe OTTFRSEO

EINFILMVONFRITZ JN DEN HAUPTROLLEN

BRIGITTE
HELMGU5TAV
FROHLICH,
ALFRED
ALFREDABEL.RUDOLF
AB KLEIN-ROGGE.
THEODOR
LOOS,FRITZ
RASPHEINRICH
GEORGE
an der kamera* KARLFREUND,
GUNTHER
RITTAU
UFA FILM IM VERLEIH DER [PRRUlflmETl
 FtrtWfcMT
KAUFflft,

E. McKnight Kauffer
81 Untitled
1919
Lithograph
3914 x 59%"
Gift of the designer

Top section of a poster

for The Daily Herald

E. McKnight Kauffer
WINTER SALE!
are best reachedby
82 Winter Sales
1921
Lithograph
39V* x 2414"

UNDERGROUND
Gift of the designer

Transportation poster
 Karel Maes
83 De Vertraagde Film
The Slow-Motion Film
1922
Lithograph
karelrnaes 42Vfex 3iy<"
Purchase fund

Theater poster
 Theo van Doesburg
and Kurt Schwitters
84 Kleine Dada Soiree
Small Dada Evening
1922
Lithograph
11% X 11V4"
Gift of Philip Johnson,
Jan Tschichold Collection

$ 3N!
5W/1VW S37 sno±

DAVKSOm
1
*\r
N3
IMMftft esBvrg
S*2?i
.^2^?
a.5S?3
l|| n h ^ k

TRmTfiAJ MSIT*

UN5AJLS
Si
DfiAWKRffN PRfV
D/V HACHTE
DA. W* Zv.> OOKto

102
 Place
Chez HUBERT St.Michel
a? v,5rue
nieilelHiron
ae i Mirondlpjiei ,—&( WTlgl
r,..4„l{ llHIVKU«nf\~
faculterusse
(Q?ei4? ve^dredi
lelSmai 192
A21.00 heiires
3)zDIA
E\H.1IA ILIA
I'eloge de ll^IAJ3JI0ra HJlbll
Ilia Zdanevitch
85 lliazde
1922
ZDAHEylTCMJ^AlIEBIHA Lithograph
11online liipoABamiaro AHTEJIOM 21% x 19%"

olt sur li xneme \ caMQM

cefie Arthur A. Cohen PurchaseFund

TftcH? lde34apH0M xaMf Tpycf.nPE/iATeji^ Exhibitionposter

tI^!>
T fHDouh'ie\ no/pEut MUAPbri'asHOH
sme
t>
1^
e*
P
sinlsVpHf T £8 PFn
.f 1V-«» K?yM( a jihh o saqa^*
SyOOB • CJIH1II
u n nftfOiHKVOm*'
aeirou^^curioif itHTHTm-noDOK-ii n n«y^ .V?^ *upaK El Lissitzky
86 Merz-Matineen
_ _
e » ajifmiiiio • peKopo
oc^Ji qeJioacKa it naooopoT • cm
JJie
s; Merz Matinee
1923
nmioRHHKa o3fcini>T3kr • • "omth anac Letterpress
fToHaia- COfflECTBtE CBflTATO^AIIPE^yXW- opcpeji 9 x 11"
a j^rpjjiepSjjie^onycTMMhi Bi2^j£3^H££TH.BftcTfKoii-
SiII!f^rtaMonMprMmeS?n!!!SW!5mvF!lilir»lriMhilTer«elifST8fffR!ir Gift of Philip Johnson

MERZ
-MAt INEEN

URT
H
C
TER K S WIT S
as
3 w LUTION F rI^ul'haus^nn
z2
t <2 Z TYPSI-STEP
a: rn ANNA BLUHE m WANG
-WANG-BLUES
o N DENATURIERTEPOESIEMIT GESANGg
£3
N
N I^
uj 2
to 3] <<
K ^ JO DIE GESETZEDER LAUTE
S I— I— ^ AL IflllNNMatRIHI Zm
z
UJ uLLaLaLa uLLaLaLaS!
*1 DAOAISTISCHE
SEEFAHRT
J* MANIFEST »om fliegendcn MAIKAFER
CD, P MANIFEST vom BRUMKREISEL
uLLaLaLa uLLaLaLac z P DIE GESCHICHTEDES JOSEF GNOI
tui tui tui tui tui tui tui tui ° Phonetische Dichtung«n

DADA 1ST DER SITTLICHE ERNST UNSERER ZEIT.

Unerwartete Einlagen.

103
 MH

Jean Crotti and

Suzanne Duchamp
87 Tabu
1921
Lithograph
EXPOSITION
47V* x 31V*"
Purchase fund cLe^ Oeuv/ied
Exhibition poster
13 EE

SUZANNE
DUCHARF
SEAN
CROTTI

CALERIE MONTAIGNE
- IB CUr TUlO'TllleLiQ'ne
du L). au IG AVRIL I 0 H.a 6 H

104
 Robert
Delaunay
and Max Ernst
Granovsky 89 Arp, Max Ernst, A. Giacometti,

88 Soiree du Coeur a Barbe Miro, Gonzalez

Evening of the Bearded Heart 1934

1923 Letterpress

Lithograph 39 x 27V«"

35% x 23%" Gift of Kunsthaus Zurich

Given anonymously
An Image Is an Abstract Likeness
Through Imagination
Theater poster
Exhibition poster

ARP

MAX ERNST

"^9
A. GIACOMETTI

vendredi6 et samedi7 juilleta 9"

soireedu
coeura barbe
Kin I'hauloui i*f nbslrtikle Irknlitkkril tlnrtlt I'lumltixlr". Iliiiiininul l.nlh

organisee par Tch£rez

/WAV DKS I'l.MKS

Place de Loge
Fauteuil d'OrchesIre. . . .
30
25
fr.
fr.
Bemheim jeune, bouk d c<:a Mateiewi
Durand,4, placede la Madefc
Povolozki,5. fi Bon-apart-
it. Oktober -
ns-Pareil.
Fauteull de Balcon,1" rang :
Pauteuilde Balcon
15
1 P
fr.
fr
flu 5^
Jin. '
7, avenue"-ber
Low(idi:
Paul Guillaume, • ' . I- n Boefce
LibrairieMomay, 57. : , Mot'ip*--.
« 4.November
Paul Rosenberg, ' je ti- > Roeti*
et au TheatreMkhel,k> a r 63-30
v 10-12 MONTAGS
GESCHLOSSEN
2-5

105
 •••:•

OSKARSCHLEMMER
90 Neuer Kunstsalon
New Art Salon
1913
Lithograph PM MCXKRRTnR wechselnde russtellung
22% x 12%" ill I INtLmiXl LilX EINTRITT-3D HHI93RHRKRRTE1.50
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Exhibition poster

106

I
 FESTHALLE Ml
SEBROCKEN
PANTOMIME
V O N

HERMANN BURGER
IN 3 TEILEN

IN SCENE GESETZT
8.AUG
EINTRITT8KARTEN
AS DIEN8TAG AN DEN
HEINZ H I LP ERT
VORVERKAUF3STELLEN
DER STADT. BUMNEN

AU S S T AT TUNG
OSKAR SCHLEMMER
MUSIK U.MUSIKAL.LEITIJNG
BRUNO HARTL
GESAMMTLEITUNG
STADT I SCH E BOHNEN
DIR.MOLLER-WIELAN$

* ' ** **
BRUCKE WEIHE

GEBRUOLSfEY

Joost Schmidt OSKAR SCHLEMMER

91 Staatliches Bauhaus Ausstellung 92 Grosse Briicken Revue

National Bauhaus Exhibition Great Bridges Revue
1923 1926
Lithograph Lithograph
26 V4 x 18%" 46% x 36"
Gift of Walter Gropius Abby Aldrich Rockefeller Fund,
Jan Tschichold Collection

Great Bridges Revue:

Pantomime in Three Parts
Poster for opening ceremony
of Frankfurt bridge

107
 Herbert Bayer
93 Architektur Lichtbilder Vortrag, FREITAG
Professor Hans Poelzig

Architecture Slide Lecture,

Professor Hans Poelzig
1926
Letterpress
19% x 25%"
Gift of Philip Johnson
ARCHITEKTUR FEBRUAR
ABDS 8H IN DER AULA DES
Walter Dexel LICHTBILDER
FRIEDRICH - GYMNASIUM
94 Verwende Stets nur Gas
Always Use Gas KARTENVORVERKAUF BEI
ALLNER • OLBERG • RAUCH
1924
VORTRAG
Letterpress
19 x 25" DER KREIS
Purchase fund DER FREUNDE
DES BAUHAUSES
Always Use Gas for Cooking,
Baking, Heating, Lighting
Because It Is Practical, Clean,
PROFESSOR HANS
Inexpensive, Saves Work,

POELZIG
Time, Money

cr
LU
CO

VERWENDE
STETS NUR
ZUM
KOCHEN
BACKEN
HEIZEN
ENN ES 1ST
BELEUCHTEN
PRAKTISCH REINLICH BILLIG

ARBEIT ZEIT GELD

AUSKUNFTUNOAUSSTELLUNG STADTISCHESGASWERK SAALBAHNHOFSTRASSE
15

108
 Herbert Bayer
95 Kandinsky zum 60. Geburtstag
Kandinsky on His Sixtieth Birthday
1926
Offset lithograph
19 x 25"
Gift of Mr. and Mrs. Alfred H. Barr, Jr.

Exhibition poster

JOHANNISSTR

qemalde aquarelle

,UBtUAUMS-AUSSTEUAJN__
f.
2-5nachm
s; IHHH ^ Il. -u„„.„
tinct
Mm<toch Geo . V- sonnus » J

Frei
rieder-

60
geburtstag
— .... 1 Mitg

109
 Herbert Bayer E H. Wenzel
96 Ausstellung Europtiisches 97 Schau Fenster Schau
Kunstgewerbe Show Window Show
European Arts and Crafts Exhibition 1928
1927 Lithograph
Lithograph 36 Vi x 23Vi6"
35V4 x 23%" Gift of The Lauder Foundation,
Gift of Mr. and Mrs. Alfred H. Barr, Jr. Leonard and Evelyn Lauder Fund

Poster for window-display

exhibition

RUSSTE LL UNG

.
EUROPRI
-SCHES
KUNST-
GEUIERBE 6 mOPZ 0k 0^ 0^ WKM
15pug

GRflssimusEum
ander JohannisKirche

Buch-eKuAsfdruckereiE/nsi HednchNachfLeipzigC.1
 Walter Dexel

AUSSTELLUNG
AMADOLF-MITTAG-SEE 98 Fotografie der Gegenwart
Contemporary Photography
1929
Linocut
33Vs x 23%"
Gift of the designer

Exhibition poster

FOTOGRAFIE
OiOGBvtE

NOVEMBER
Ldezember
DEaEMI
MOAEWBEB
VERANSTALTET
VOM AUSSTELLUNGSAMTDERSTADTMAGDEBURG
UND VOM MAGDEBURGERVEREINFORDEUTSCHEWERKKUNSTE.V
GEO'FFNETWOCHENTAGS 10 BIS18 UHR SONNTAGS 10 BIS19 UHR
EINTRITT40 PF.SCHOLERUND GESCHLOSSENEVERBANDE 20 PF

ENTWURF: DEXEL / LINOLEUMDRUCK VON

W. PFANNKUCH & CO. IN MAGDEBURG

111
 Jan Tschichold
99 Buster Keaton in: "Der General"
1927
Offset lithograph
47 x 32W
Gift of the designer

Film poster

vmuNCheN eNTUiurfiTschicholdplaM«99 b/mch • druac f brucxmanN aq

112
 Jan Tschichold
100 Die Frau ohne Namen
The Woman Without Name
1927
Offset lithograph
48V4 x 34"
Peter Stone Poster Fund

Film poster

GEORG
JACOBYS
WELTREISEFILM

5
PHOEBUS-PALAST
ANFANGSZEITEN
! 4, 6", 8*> SONNTAGS:
1« 4 6* 8*>

ENTWURF:
JAN TSCHICHOLD
PIANEGG
B.MCH. DRUCK!
GEBR.OBPACHER
A6.MUNCHEN

113
 Max Burchartz
101 Tanz Festspiele
Dance Festival
1928
Letterpress and gravure
35 V4 x 32%"
Purchase fund, Jan Tschichold
Collection

114
 Max Burchartz
102 Schubertfeier
Schubert Festival
1928
Offset lithograph
23V< x 33"
Gift of Philip Johnson

Concert poster

DEN 19. NOV. 1928 e GROSSE AUSSTELLUNGSHALLE e 20 UHR

ENESSEN
AM 100.TODESTAGE FRANZ SCHUBERTS
MUSIKALISCHES DRAMA
OPERNDIREKTOR RUDOLF SCHULZ-DORNBURO
30 2. TAG • DIENSTAG, DEN 20. NOVEMBER 1928 • OPERNHAUS • 19 UHR

TANZEUND
BALLETTE JENS KEITH
3. TAG • FREITAG, DEN 23. NOVEMBER 1928 • STADTISCHER SAALBAU e 20 UHR

SCHUBERTUND
WIEN GRETE WIESENTHAL-WIEN: WIENER TANZE
KAMMERSANGERWISSIAK-HANNOVER: ALTWIENER LIEDER
HANNA KIRBACH-OPERNHAUS ESSEN
STREICHQUARTETT LILY WEISS-WIEN
4. TAG • SONNTAG, DEN 25. NOV. 1928 • GROSSE AUSSTELLUNGSHALLE • 19 UHR

LAZARUS WIEDERHOLUNG
KARTEN VERKAUF ZU ALLEN VERANSTALTUNOEN : KASSE DES OPERNH AUSES
VERKEHRSVEREIN IM HANDELSHOF • BUCHHANDLU NO O. SCHMEMANN, VIEHOFERSTRASSE 16
G. D. BAEDEKER, BURGSTRASSE 16 • BUCHHANDLUNG FREDEBEUL t KOENEN. KIBBELSTRASSE

ENTWURF BURCHARTZ-ESSEN • DRUCK F.W.ROHDEN-ESSEN

 Designer unknown Helmut Kurtz
103 Wie Wohnen? Die Wohnung 104 Ausstellung Neue Haus-Wirtschaft
Werkbund Ausstellung HouseholdDesign Exhibition
How to Live?The Dwelling 1930
Werkbund Exhibition
Gravure
1927
50% x 35%"
Offset lithograph
Gift of The Lauder Foundation,
44% x 32%" Leonard and Evelyn Lauder Fund
Gift of Philip Johnson

WOHNUNC
WERKBUNDAUSSTELLUNG
..™., JULI- SEPT1927 STUTTGART

116
 Johannes Molzahn
105 Wohnung und Werkraum
Dwelling and Work Place
1929
Lithograph
23% x 32V4"
Gift of Philip Johnson,
Jan Tschichold Collection

Poster for Werkbund exhibition,

Breslau

Johannes Molzahn

m
106 Wohnung und Werkraum
Dwelling and Work Place

m 1929
Gravure
23% x 33"
Purchase fund, Jan Tschichold
Collection

Poster for Werkbund exhibition,

Breslau

DRUCKEREI
SGHENKALOWSKY.
BRESLAU
5

FRIEPRICHDRUCK BRESLAU 1

117
 Herbert Bayer Paul Schuitema
107IBA 108ANW
1934 1932
Offset lithograph Lithograph
46Vi x 33W llVi x 13%"
Given anonymously Acquired by exchange

Posterfor international BuyANW Stamps,Support

office exhibition, Berlin the Work of the General Dutch
Union for Foreign Travel

IBA 8. INTERNATIONALE
Bt'JRO AUSSTELLUNG BERLIN
KAISERDAMM 1934 7.-16.
SEPTEMBER INTERNATIONALE
BURO AUSSTELLUNG^ BERLIN refimdelingenvefk
KAISERDAJy! NEDER

BURO
AUSSTELLUNG BERLIN
IBA 8. INTERNATIONALE
BURO AUSSTELLUNG BERLIN
KAISERDAMM 1934 7.-16.
SEPTEMBER KAISERDAMM IBA
BERLIN 7.-16. SEPTEMBER

118
 Herbert Bayer
109 Section Allemande
German Section
1930
Lithograph
15Vi x 11VV
Purchase fund

Exhibition poster for society

of decorative artists

DYnncitinn de la societedes artistes

CApUOIIIUM decorateurs grandpalais
14mai-13juillet
 Bart van der Leck
110 Batavier-Line Rotterdam London
c. 1915
Lithograph
297/%x 44"
Given anonymously

Transportation poster

BflTRUIER-UNE
CHEAPEST AND MOST
COMFORTABLE ROUTE
REGULAR SERVICE FOR
CARCO and PASSENGERS

1-nOTTERDRM LONDON-

VIA GRAVESEND IN CONNECTION WITH THE SOUTH EASTERN & CHATHAM RAILWAY

CUSTOM HOUSE & WOOL QUAYS

LOWER THAMESSTREET LONDON H.MULLER ROTTERDAM WILLEM5 PLEIN
/
3
 Hendrikus Wijdeveld Christa Ehrlich
111 Eere Tentoonstelling 112 Ostenrijksche Schilderijen en
Th: Colenbrander Kunstnijverheid 1900-1927
Exhibitionin Honor of Austrian Paintingsand
Th. Colenbrander IndustrialArts 1900-1927
1923 1927
Letterpress Linocut
39Vi x 22W 147/14x 14W
Gift of The Lauder Foundation, Gift of Mrs. Alfred H. Barr, Jr.
Leonard and Evelyn Lauder Fund

TENTOONSTELLING
Exhibition poster

©1TENRIJK1CHE
IDIDED
IAARDEWERK
SCHILDERIJEN
190 OML
EN
KUNSTNIJVERHEID
1917
I

ENTAPIJTEN
STEDELUK
MUSEUM
hA
HAAC
DEN

ZCCITRAAT6SB
AMSTERDAM
1923 CEM.MUIEUM
NODCRNE
VOOR
KUNIT
31OCT
NOV
30
I0:4UUR ENTR 10.25
13. OKT.-13.
10-16 UUR.
NOY.

121
 Gerard Baksteen
113 Moderne Kunst
Modern Art
c. 1930
Lithograph
3814 x 29"

Gift of The Lauder

Foundation, Leonard
and Evelyn Lauder Fund

Exhibition poster

T
122
 PlET ZWART
114 ITF
INTERNATIONALE 1928

TENTOONSTELLING
Lithograph
42V* x 30W

OP F1LMGEBIED Acquired by exchange

Poster for international film

exhibition

14 APRIL GROOTE KONINKLIJKE

15 MEI BAZAR ZEESTRAAT 82

P. ZWART
I A AG
123
 Niklaus Stoecklin
115 Der Buchdruck
Book Printing
1922
Lithograph
49iVi6 x 35"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Poster for exhibition of

book printing
. m
Burkhard
116 Grafa
1933
Lithograph
50% x 35Vi"
Acquired by exchange

Exhibition poster

i'Ar H
Ernst Keller
117 Jelmoli gut und billig
Jelmoli, Good and Inexpensive
1924
ii
Lithograph
51% x 35Vi4"
Given anonymously

Advertisement for a
department store

WlLHELMWENK
118 Ein neues Tellenspiel
A New Wilhelm Tell Play
1925
Lithograph
50% x 35%"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Theater poster

"'r i
EINTRITT FRE I mm GRAPH.ANSTALTW.WASSERMANN.BASEL

124
 W l.graphische
rfachausstellung
zo.aug- lo.sept
K n h/wcl
Zurich utaquai

125
 IKUNSTGEWERBE
MUSEUM
eHpasihnn
ZURICH inFernaNanale
du bureau a bale
aa aeph-ia och iaaa
dans la palais da la
Faira suiaaa

UES
WANDER
jAUSSTELLUNG
Ides deutschen
WERKBUNDES
8. JAN(JAR BIS
I. FEBRUAR 1928
bureau bale

AUEN

TheoH. Ballmer Theo H. Ballmer

119 Neues Bauen 120 Bureau Bale
New Building 1928
1928 Lithograph
Lithograph 50Vi« x 35%"
50Vi x 35%" Estee and Joseph Lauder
Gift of The Lauder Foundation Design Fund

Exhibition poster Poster for international office

design exhibition, Basel

126
 Theo H. Ballmer Theo H. Ballmer
121 Biiro 122 Norm
1928 1928
Lithograph Lithograph
50% x 35%" 49% x 35%"
Gift of The Lauder Foundation Estee and Joseph Lauder
Design Fund
Poster for international
office design exhibition Poster for exhibition of
industrial design standards

inrernaricinale
bLiroFachaussrallung
basal
as. sapr.-i5. ahr. isaa
musrermessgebaude
hunsl-gEWErbE-
musEum zUrich

die norm
in induslriE und
gswErbs
schwEiz.wandEr-
aussl-eliung
14.DhK-ll.nDV.IBEB
ID-IB U. 14-IBuhr

127
UBLICITE VOX iS&SSSKR&S
ijt^.

VERITABLE
VIEiLLE
MARQUE
DE TURIN.

128
 Alexey Brodovitch Otto Baumberger Jean Arp and Walter Cyliax
123 Martini 124 Forster Ausverkauf 125 Abstrakte und Surrealistische

1926 Forster Sale Malerei und Plastik

Linocut 1928 Abstract and Surrealist

Painting and Sculpture
46 Vi x 60%" Linocut
1929
Gift of Bernard Davis 50% x 35%"
Lithograph
Gift of The Lauder Foundation,
Advertisement for vermouth Leonard and Evelyn Lauder Fund 50% x 35%"
Purchase fund, Jan Tschichold
Advertisement for a carpet store Collection

Exhibition poster

ftoktober
bis3.november1929
tagfchge6ffnetKH2ird2-5
montagsgescliossen
 Max Bill Jan Tschichold
126 Negerkunst prahistorische 127 Konstruktivisten
Felsbilder sudafrikas Constructivists
Negro Art, Prehistoric Rock 1937
Painting of South Africa
Offset lithograph
1931
5014 x 3514"
Linocut
Abby Aldrich Rockefeller Fund,
50 Vi x 34%" Jan Tschichold Collection
Gift of the designer
Exhibition poster
Exhibition poster

• vom 16.januar bis 14.februar 1937

kunsthalla basel

konstruktivisten
negerkunst
prdhistoriscbe van doesburg

felsbilder
sftdafrikes domela
eggeling
gabo
knnstgewerbemnseiim zfirieb kandinsky
lissitzky

ansstellnng
2.-30. angnst1931 moholy-nagy
mondnan

geSffnet 10-12 14—10 nbr pevsner

taeuber
vantongerloo

-17 nbr vordemberge

gescblossen
eintritt-.50
nachmittag and sonntagfirei

130
 Jan Tschichold
128 Der Berufsphotograph
The Professional Photographer

1938
Offset lithograph
25Vb x 35V«"
Gift of the designer

Exhibition poster

unlermiterbeitdesschweizerischen
photographen-»erbandes

gewerbemuseum
basel ausstellung

derberuf
wtrirtags 14-19

mithrtcfes 14-19 19-21

sonntifs 10-12 14-19

laWI ha

131
 flEFBblE
CnCHTAKHM

1415
tehtpPEBOniOUHHM
VilNUA TEPMEHA, IS
TEJ1EOOH M 4-49-40

17-18
I M APT Am
AHATO/1HM TJlEBOBi
Mara
RFHRTRVWIT
AEOCTByiOT:

0. B./la(SyHCKa>
Toiijiapa 10.C.Tmuep
Mapa A.B.BoraaHosa
Bepomma0. H.HumoBa
Hacra H.H.MaaaoB?
rpeiaHHaaoaM.E.l\mv , -
Come Dm.Opno j
Pwmoa B.B.Be/ioky
Heweaai BAAarauiew

«—iU:S.
MACCOBbiE
CUEHbl

BaaaKnaaH.H„BorjBOB. .
BopoaA.H, Aprf'?;
•, Hy,y308a
M.A. ..•
;'"<•', llacMBaA.B..PflK»ff
;
Ocnn»nH.M. (OePHfiapr
1
lUypynoaaT
H..BaoonoB
fl3r
/laapeHTbeaC.A..Mopo3oaA
1U
faymtC.B„CawpHM
noMxanorMHaoHNtt MOHTam a 4-x airrax CyxoAonbcaaPA. M..ycunb-
uea r. (1. UBHaeieB
K). B.
a ciyaeHTbiUereraca.
HAHAJ10
CnEHTAMfl I. ft. TEPEIllHOBMHft O^opuiaHMa acwnu
BOCTioaoi—ft. H. POflMEKKO
pauna7i.30i.im. Crporruib
aeiueciuiHoro
oijnpummH. A. COOTS
Myauaubina
oijnpwmae
- H. H. IfOllOB
Koctwmu
Mum. BapoHMM
alOAOJiuiuapateraH. II. ilAHMAHOBOlii
bUKTIMTlltSLIlSlL Pumccap-accacieHT-
H. A. PAEBCKNM ocxubHhM
—co6cn.hct. doowti C. II. BjianMMHpasa
Chi n. B. IIATPNAPHA (Upuu rpw A. B. TEP8HHHI4

Alexander Rodchenko
129 Inga
c. 1929

Letterpress
28V4 x 41V4"

Gift of Jay Leyda

Inga, a Psychological Drama

in Four Acts
Theater poster

V. SlMOVANDI. StEPANOV
130 The Victory of a Woman
1927

Offset lithograph
27% x 42%"

EOmHHHHHTQ
ufUBMIH
Given anonymously

Film poster

132
flAPK KV/lbTVPblH OTAblXA
OTKPblTA
I'BblCTABKA

MOCKOBCKOM ACCOUHAUHM XVflOMHHKOB flEK OP AT OPOB

ApinioBa M.

3enbflOBHH C.

KOMapHBHHOB B.

Hhtbhhghho /I.

HI a n bi ui e b K.
MapTblHOB A.
IMm
tl. OTHpbiTa emeAHeR
nacy ao 6. BepHttcam
h 2 saca Ana
a ax oa B neHb sepHHca
CcHaTOpOB 11. p., b ocTanbHbie Ahm 40 h
CripBMHT 3. BblCTABKA OTKPblTA U1MXCR 20 M., C OMCMyp
CrenaHOBi B.
CyaaepiHMitHMM fl.
<t> o M m h A.
UleBannuuieBa C.
npaaflHMKM
c 4 no 10 m.sen.

Designer unknown Alexei Gan

131 MAKhD 132 First Exhibition of Contemporary
c. 1925 Architects

Offset lithograph 1927

42% x 28W' Letterpress

Given anonymously 42V* x 27%"

Gift of Alfred H. Barr, Jr.
Poster for first exhibition
of Moscow association of
artists and decorators

133
 Alexander Rodchenko Yakov Guminer
133 Dobrolet 134 May First
1923 1923
Offset lithograph Offset lithograph
13% x 17%" 43 x 24"
Given anonymously Given anonymously

To All.. .To All... To All.. Political poster

He Who Isn't a Stockholder in
Dobrolet Is Not a Citizen of
the USSR

Airline poster

TUT
HE
rp A>KflAHMH

flDEPDJlETi
H E
AKUMDHEP

nui
T*nOJlHT®rPA»lt* MIAWMft MtTA, •«». C»»o«AA. S
•JiliM'IfJi;W,l(l:li iTaUi

HHAAH »CmT»lWTl»
 Designer unknown
135 Fighting Lazy Workers
1931
Offset lithograph
27% x 40%"
Gift of Miss Jessie Rosenfeld

no roKEVflAPHMKAM
 Alexander Rodchenko
136 Film Eye
1924 ^eimoel

Lithograph
36tt x 27V4"
Gift of Jay Leyda

Poster for six films by Dziga Vertov

tEPMM
PflEDTfl
flJHrMBEPTQBfl
IIEPATDP
KflytpMAH
f /13BJIMTJV&253. Tnno-;iMTorpa<J>nflrot y/i.KoMMyHbt 35. Te/iecJ).5-75-09.
THpaw 8000.

136
 Vladimir and Georgii
Stenberg
137 Symphony of a Great City
1928
Lithograph
41 x 27W'
Marshall Cogan Purchase Fund

Film poster

<v.-v
s

/lHtorpat|)MsiCOBKHHO Tarawa^;# yji a V Teue<J)OH

2-24-7? H3ARH*e COBKMIIO SloCKMN28r ruaa/HtT J* A. 16749
 Vladimir and Georgii Krichevski
Stenberg 139 Zvenigora
138 Zvenigora 1927
1927 Lithograph
Offset lithograph 40 x 28"
4116 x 27Vi" Given anonymously
Purchase fund
Film poster
Film poster

f ~ jBEHMTDPA
r
m

-7.

'f N
RMPObfl HH"TRO
Aipmmno
'1 mvm
&

iTMBEHnrDPn
J^
f \ A
I *.
rv
o<w««
ln Pwamp A. flOBMEHKO fln.p.Top E. 3MBEJ10B X npo*. HPHHEBCbKMf)

138
 Vladimir and Georgii
Stenberg
140 Forced Labor
1928
Offset lithograph
48y4 x 27W
Given anonymously

Film poster
 Vladimir and Georgii
Stenberg
141 The Three-Million Case
1927
Lithograph
28V4 x 42%"
Given anonymously

Film poster

PEX. nPDTA3AHDB

140
 Vladimir and Georgii
gmnycK Stenberg
CDEKMHO 142 Pounded Cutlet
1927
Lithograph
40 x 27Vi"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Film poster

Hsakhhc „COBKMHO". Mockm, 1927 r.

KHHD
Mtm
THno-/lnTorpa4>MflCOBKMHO TaraHCKaayn «. 3. Tenetfxw 2-24-77.

141
 Nikolai Prusakov
143 Pipe of the Communards
1930
Lithograph
42Vi6 x 28W no HQBEJ1JIE
Poster fund

Film poster
m.3PEHByprfl

Pew. K. A. MapflwaHOB
Onep. C. (1. 3ad03naeB
Xyfl. B. CMAOMOH-BpHCTaBH
B. AHflwanaptiA3e
&
'fypOtf " >•»
?T,SS
yiuanrM4xewA3e

I Ti m-MiTorpiitna .Mocnoimrpa*'.

142
nEPATDP H HHOmFHKn

Grigory Borisov and

Nikolai Prusakov
144 I Hurry to See Khaz Push
1927
Offset lithograph
28 x 41W
Given anonymously

Film poster
 Anatoli Belski
145 Pipe of the Communards
1929

Lithograph
43 x 29W

Gift of The Lauder Foundation,

Leonard and Evelyn Lauder Fund

Film poster

H.MAPAMUina
•»»«»>
C.3*M3J1»EB
B, C»ji»iit-3|ii[iii»
rillxwf ro»i
CEPEW*
3AB03HAEBym«Hr*
MXEKA3E
ysacTByxtT.
B. AH4WAnAPM43E.
A WOPWOAHAHH
T ME.H30H

A.BEAhHKHd
M3AAHM£fOCKMHnPOM
[.CP. fpyjMK

-
 Yakov Guminer
146 1917
1927
Offset lithograph
41% x 26%"
Gift of Alfred H. Barr, Jr.

Film poster
 Gustav Klutsis Michael Dolgorukow
147 The Development of Transportation, 148 Transport Worker Arms Himself
The Five-Year Plan with Technical Skill
1929 1931
Gravure Offset lithograph
28% x 19%" 40% x 28%"
Purchase fund, Jan Tschichold Given anonymously
Collection
Transport Worker Arms Himself
with Technical Skill. Strive to
Reconstruct Transportation

ItCTIlEHIlaflEPBBfO
10JUnRTKAETMN i!WM HA 1929-30 I".
I lOHTPgiMUE

TPAHCflOPT

InaTHJIETKV/

BnomEHiw
y%

OcHOB^we

TpaHcno
BoopyjHaiicb 3HaHNflMH
BOpHCb3S, TpaHcnopTa
 El Lissitzky
149 USSRRussische Ausstellung
Russian Exhibition

Gravure
49 x 35W
Gift of Philip Johnson,
Jan Tschichold Collection

r/Ky
3SHAU
 Gustav Klutsis Gustav Klutsis
150 Onward into the Third Year 151 We Will Return Our Coal Debt
1930 to the Country
Gravure 1930
40V2 x 29V4" Gravure
Purchase fund, Jan Tschichold 41 x 29W
Collection Purchase fund, Jan Tschichold
Collection
Poster for the five-year plan

148
 Gustav Klutsis
152 Fulfilled Plan, Great Work
1930
Gravure
46% x 33W
Purchase fund, Jan Tschichold
Collection

Poster for the five-year plan

 A. M. Cassandre
153 La Route Bleue
1929
Lithograph
39% x 24%"
Gift of French National Railways

Impnmerie L DAN EL _ LI LLC

Transportation poster
 CHEMIN DE F
Z7
jg| mmP^;kcAS$ANDRE
v
:v
* .
"-V. >'

111

A. M. Cassandre
P 154 Etoile du Nord

DUDEJEUNER AU DINER ft 1927

m Lithograph
41% x 29V4"

S— PARI 6RM LES—

AMSTERDAMin Gift of The Lauder Foundation,
Leonard and EvelynLauder Fund

COMPAGNIE D L1TS Transportation poster

151
 A. M. Cassandre
155 Nord Express FER DU NORDJ
1927 A.M.CA5SAN0RE
Q|
Lithograph
41 x 29W
Gift of French National Railways

Transportation poster

<

COMPAGNIE WAGON S -

152
 A. M. Cassandre
156 L.M.S. Best Way
1928
Lithograph
41% x 50V4"
Gift of The Lauder Foundation

Transportation poster

'".

A.MOURON-G
 A. M. Cassandre
157 Restaurez-vous au Wagon-Bar G- INW DES .WAGONS LI TS
A.M.CA«Ai^PR'*Q
1932
Lithograph
39% x 24%"
30
Gift of Benjamin Weiss >
Transportation poster

ESTAUREZ VOUS

le/ick)
A PEU DE MP.L.DANEL. LILLE.

154
HHHH

A. M. Cassandre
158 Pernod Fils
1934
Lithograph
63V* x 47"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Advertisement for an aperitif

fontM

-A.M.rA^ANJ>RE

DANEL 34. «UE MAKCSEGUIN. PARIS.

 A. M. Cassandre A. M. Cassandre
159 NEderlandsche NYverheidsten 160 S.S. "Cote d'Azur"
TOonstelling 1931
Dutch Industrial Exhibition Lithograph
1928 39 x 24%"
Lithograph Gift of Mr. and Mrs. Stanley Resor
41*6 x 29W
Given anonymously Transportation poster

TE
ME
p
_S
II
A t DEGERANCE et bARMEMENT lf|

i\v
fw 3il 1_ vLJ
a ssCOTE
D'AZUR"
ON' N' SERVICL
1 If BUREAUX:
BOYMANttTRAAT
1
CALAI
RESTAURANT
S-DOUVR ES
ASSURE PAR LA
ALt iUTCVRSHCCMT
NlJGHt ^YAHUirflAR
L'r INT DE5 WAGU N b-L I 1 b

156
 A. M. Cassandre
161 Spidoleine Securite
1932
Lithograph
62Vi6 x 46Vi6"
Gift of Mr. and Mrs. Stanley Resor

Advertisement for motor oil

 * • S pi
pi
ijS ., . j _ i i ; .5*,

KSM
7#

HMMMMini - IM
 A. M. Cassandre
162 Nicolas
1935
Lithograph
12'llVi" x 15'7Vi"
Gift of Mr. and Mrs. Stanley Resor

Advertisement for a wine merchant

 A. M. Cassandre
163 Dubo Dubon Dubonnet
1932
Lithograph
17Vi x 45W
Gift of Bernard Davis

Advertisement for an aperitif

160
 E. McKnight Kauffer
164 Magicians Prefer Shell
1934
Lithograph
30 x 45"
Gift of the designer

Advertisement for an oil company

YOUCANBESUREOFCO
 jA/ Jfouffpt .

E. McKnight Kauffer
165 Metropolis
1926
Tempera
18% x 29V«"
Given anonymously

Maquette for a film poster

E. McKnight Kauffer
166 Shop Between 10 and 4
1930
THE QUIET HOURS
Lithograph AND BY
39% x 24%"
Gift of the designer
ERGROUND
El
Transportation poster
 THE
NERVECENTR
OF LONDON^
E. McKnight Kauffer
167 Power, the Nerve Centre of
London's Underground
1930
Lithograph
40 x 24V4"
Gift of the designer
17.15001/31

Transportation poster
 Man Ray
168 Keeps London Going
1932

-KEEPS LONDON GOING

Offset lithograph
39% x 24V*"
Gift of Bernard Davis

Transportation poster

164
 A. M. Cassandre
169 Watch the Fords Go By
1937
Offset lithograph
811" x 19'6Vi"
Gift of the designer
 J. P. JUNOT
170 Paris Liege CH EMI N
1930 O.P.JUNOT Q
Lithograph
39Vi x 24W
Acquired by exchange

Paris to Liege in 4 Hours

367 Kms. Nonstop

Transportation poster

Ktil

IMP. DANEL. LILLE

DE FER BELGES

166
 Pierre Fix-Masseau
171 Exactitude
1932
Offset lithograph
39% x 24W
Gift of French National Railways

Transportation poster

Vinted in Franc e
 Charles Loupot
172 Voisin Automobiles
1923
Lithograph
64 x 47W
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

B I 1/ E
DEVAMBEZ IMP. PARIS

168
 Paul Colin
173 Peugeot
1935
Lithograph
63 x 46%"
Gift of Bernard Davis
 Off GUAf lOAP WOfIA

U. di Lazzaro Munetsugu Satomi

174 Italian Aerial Lines 175 K.L.M.
c. 1933 1933
Lithograph Lithograph
39% x 23W 39V« x 24W
Purchase fund Gift of Bernard Davis
 Popp-Kircheim Designer unknown
176 BMW Motorrader 177 Between Your Brakes and
BMW Motorcycles the Road, Goodyear

c. 1935 c. 1932

Lithograph Offset lithograph

39tt x 26" 38 x 24"

Purchase fund, Jan Tschichold Gift of The Lauder Foundation,

Collection Leonard and Evelyn Lauder Fund

BETWEEN YOUR BRAKES AND THE ROAD

BAYERISCHE
MOTORENWERKEAKTIENGESELLSCHAFT
MCNCHEN 46
 E. McKnight Kauffer Herbert Matter
178 Great Western to Devon's Moors 179 Fur schdne Autofahrten die Schweiz
1932 For Beautiful Automobile Trips,
Lithograph Switzerland

39Vs x 24" 1935

Gift of the designer Gravure

39V* x 25W
Railway poster Gift of Bernard Davis

1- VV ,
f • ! -
t \\ - N "" , '
kv ' V'-v v:-

172
 Herbert Matter
180 Pontresina Engadin
1935
Gravure
41 x 25W
Idnick Con*en a Buber. 2oncii Gift of the designer

Travel poster
 A. M. Cassandre
181 Grande Quinzaine Internationale
de Lawn-Tennis
1932
Lithograph
61% x 46%"
Given anonymously

Poster for a tennis tournament

19IHL.
DELAWN-ENNIS
STADE ROLAND GARROS PORTE

Lil
EastCoastResorts Tom Purvis
182 East Coast Resorts
1925
Lithograph
39V2 x 50"
Given anonymously

Transportation poster

Tom Purvis
183 East Coast by LNER
c. 1928
Lithograph
39V4 x 50"
Given anonymously

Transportation poster

By LN ER Excursions
All information at Stations and Offices.

EASTCOAST
BY L N E R

175
 Francis Bernard Lester Beall
184 Gaz Cuit-Chauffe-Glace 185 Running Water, Rural Electrification
Gas, Cook-Heat-Cool Administration

1928 1937

Lithograph Silkscreen

63 x 47Vi" 40 x 30"

Purchase fund Gift of the designer

CUIT.CHAUFft.GLACE

176
fill

Lester Beall Xanti Schawinsky

186 Rural Electrification Administration 187 Olivetti
1937 1934
Silkscreen Lithograph
40 x 30" 21 x 13V4"
Gift of the designer Purchase fund and gift
of Mrs. Schawinsky

* G R .I C U .IfflfciJiUfe R E
 Otto Baumberger
188 PKZ
1923
Lithograph
50Vfex 35W
Estee and Joseph Lauder
Design Fund

Advertisement for a men's

clothing store
 Otto Baumberger
189 Baumann
1922
Lithograph
50% x 35V4"
Purchase fund

Advertisement for a men's

clothing store

Fraumunsterstr.17

1 $

/ Pierre Gauchat AlexW. Diggelmann

190 Bally 191 PKZ Burger-Kehl & Co. AG
1935 1935
Lithograph Lithograph
50% x 35W 50% x 35%"
Purchase fund, Jan Tschichold Gift of Emilio Sanchez
Collection
Advertisement for a men's
Advertisement for shoes clothing store

179
 Ludwig Hohlwein Victor Ancona and
192 Und Du? Karl Koehler
And You? 193 This Is the Enemy
1929 1942
Offset lithograph Offset lithograph
47 x 32W 34V< x 23%"
Purchase fund Poster fund

Political poster

KOEHIER

UND DU? Thisis the Enenuj

WINNER R. HOE & CO., INC. AWARD - NATIONAL WAR POSTER COMPETITION
HERAUS6EBER;
DER
STAHLHELM.BUND
DER
FRONTSOLDATEN DRUCK
HERM
S0NNTA6
ItCO,
MONCHEN HELD UNDER AUSPICESOF ARTISTS FOR VICTORY,INC.-COUNCIL FOR DEMOCRACY-MUSEUMOF MODERNART

180
mi in

iu
—
Ben Shahn
194 This Is Nazi Brutality
1943
Offset lithograph
38V4 x 27%"
Gift of the Office of War
Information

Nazibrutality
^jib 1"• KkK
ntcE - nc " , i iii nmUN
-»
s """ i - -""i ^ ,£
Mi
LI;l T " "" "' ^

6/ 11/A2/U5P

m
181
 saw
BOTH BARRELS
r a/Lils •><«»

Jean Carlu
195 Give 'em Both Barrels
1941
Offset lithograph
30 x 40"
Gift of the Office for
Emergency Management

Leo Lionni
196 Keep 'em Rolling!
1941
Offset lithograph
40 x 28W
Gift of the Office for
KEEP
EM
ROLLING!
Emergency Management
 Jean Carlu
197 America's Answer! Production
1942
Offset lithograph
29% x 39%"

Gift of the Office for

Emergency Management

/£AiV
CAKL is DIVISION Of INFORMATION #
office for emergency management

—— —
Ht/n /A*^vv

Ben Shahn Herbert Bayer

198 Break Reaction's Grip, 199 Polio Research
Register, Vote 1949
1944 Offset lithograph
Offset lithograph 44% x 29"
41% x 29" Gift of Infantile
Gift of S. S. Spivack Paralysis Foundation
 DAS BERLIN
23.MARZ
WUNDER 5MAI
am
DES LEBENS
AUSSTELLUNG
Kaiserdamm

Herbert Bayer Hans Erni

200 Das Wunder des Lebens 201 Atomkrieg Nein
The Miracle of Life Atomic War No
1934 1954
Lithograph Offset lithograph
58 x 32W 50 x 35"
Given anonymously Gift of the designer

Exhibition poster
 Ruodi Barth and B. Westrell
Fritz Buhler 203 Vademecum
202 Nivea c. 1953
1948 Lithograph
Lithograph 27Vi x 19W
50Vfex 35%" Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund
Don Page Fund

Advertisement for skin cream Advertisement for toothpaste

186
 Charles Kuhn
204 Labyrinthe
1944
Lithograph
50Vi x 35Vi"
Given anonymously

Poster for a monthly publication

 Fritz Buhler Herbert Bayer
205 Film 206 Olivetti
1945 1953
Offset lithograph Offset lithograph
50 x 35V6" 2716 x 19V8"
Gift of The Lauder Foundation, Gift of the designer
Leonard and Evelyn Lauder Fund

Poster for international film

festival and congress, Basel

( .onires
lnt.<-rii;ili<>ii;t

:«)« K'M'H:

ivetii

188
 Giovanni Pintori Herbert Matter
207 Olivetti 208 K[noll] Single Pedestal Furniture
1947 Designed by Eero Saarinen

Offset lithograph c. 1957

37 Vi x 26W Offset lithograph

Gift of the designer 45 x 26"

Gift of the designer

SINGLE PEDESTALFURNITUREDESIGNEDBY EEROSAARINEN

 Erik Nitsche Ivan Chermayeff
209 Exploring the Universe, General 210 The Mead Library of Ideas
Dynamics 23rd International Annual Report

1958 Competition

Lithograph c. 1975

50 x 35V4" Offset lithograph

Gift of General Dynamics 22 x 17"

Corporation Chermayeff and Geismar Fund

exploring the universe

KHMHHNNMH Mi

\ /
\ \ r/

HI— mm
nuclear fusion
HUHHI HT

190
Paul Rand

1982
Offset lithograph
36 x 24"
Gift of the designer
 Max Huber
212 7 CIAM
1949 congresinternationalI
d'architectture 1 I
Offset lithograph
18% x 26%"
Gift of the designer

Poster for seventh international

congress of modern architecture
•derne 22-31Suiet 1949
Bruno Munari
213 Pirelli
1953
Offset lithograph

r
38 x 26W
Gift of the designer

Sequence of three posters

bergamo

progresso cammina col progresso

dura due volte e mezzo di pin dura due volte e mezzo di piii dura due volte e mezzo di piu

igienica igienica igienica

IRELLI

192
 Bruno Munari
214 Campari
1965
Offset lithograph
6'5W' x 9'1W
Gift of the designer

Advertisement for an aperitif

PARICAKfVUX
CA CAMFmftl

ampari

193
 Giovanni Pintori Winfred Gaul
215 Olivetti 216 Images Meditatives
1950 Meditative Images
Offset lithograph 1960
37% x 26W' Silkscreen
Gift of the designer 27% x 19%"
Gift of the designer

Exhibition poster

u "WW

*tv-v

jy.

^3fc/

WTeUMM

mm tvzviTAT

194
 ... • • ::•,

Ryuichi Yamashiro Ikko Tanaka

217 Forest Wood 218 Kanze Noh Play
1954 1961
Silkscreen Silkscreen
41 x 29W 41*4 x 28V4"
Gift of the designer Gift of the designer

Poster for forest- Theater poster

conservation movement

ft tt « ftH « ^ # ft ft ft ft ft ft ft * « ft
ff. ft
f*ff.ft H
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ttft V ft *** ^ u W ft ^
£*BS 5TS it
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|$N> ft it ft 5S ft
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»$fsU "i K: tk "&Vv «:v;.
Hi A ** W HH HV
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Jbe^X
If 25/N
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TO£5 IE ' — A\ MM A- ±i it II
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a |V . u ^
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w & t*
m± ft^D-T-
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B
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HUft^
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fili 7C7C
IEE

195

— — —— — — 1
 SlGMARPOLKE Robert Gretczko and
219 Polke Neue Bilder Charles Zimmerman
Polke, New Paintings 220 "Our Town 1970"
1967 1964
Offset lithograph Offset lithograph
33 x 23VV 27% x 18"
Given anonymously Gift of Municipal Arts Society

Exhibitionposter Exhibitionposter

Sigmar Neue
Polke: Bilder.Galerie
Heiner
Friedrich,
Miinchen,
Maximilianstr
15.Dienstag
bisSamstag
10bis19Uhr.4.-23.April1967

Exhibition: An exhibit showing

proposed urban designs
for NewYorkCity

Sponsored by the
MunicipalArt Society,
Union Carbide Building
270 Park Ave.NYC
April 6 -May11

r i i r _ i i
r i i i r

' w. I
% m

lf \ V # I 7A
OW. <70'
)G. rTn.m I
,9"
0
7 Cu" Icwn " '
"OurTown1970"

196
 Wolfgang Schmidt
221 Schreib, Galerie Gunar Diisseldorf
1965
Silkscreen
34 x 24"
Gift of the designer

Exhibition poster

schreio
I
schreib
la poetique zur eroffnung
semantique am 10. juli
20 uhr spricht
bilder williame. simmat
objekte
graphik galeriegunar
diisseldorf
10.juli bis schiitzenstraBe63 typographic wollgang tchmidl
(unter verwendung dec kodex der

15. august1965 an der kolner str. grundgetten aui dam semantischen

manifest von lattanzi + schreib 1961)

197
 Massimo Vignelli Emilio Ambasz
222 XXXII Biennale Internazionale 223 Geigy Graphics
d'Arte Venezia 1967
1964 Offset lithograph, diecut
Offset lithograph 15Vi x 15"
38 x 27Vi6" Gift of the designer
Gift of the designer
Exhibition poster
Exhibition poster

u $

fH
r

;M
WBIm
0/00

m fmw&
?i t i.

,44 I*WT( 04 «OlU> M* I* W Ofc W,1 O'M-4 UWO tv*o oeyo« v»«i4 »OToe«to'. RIDUZlONI FERROVIARIE

'•r>:

198
 A. G. Fronzoni
224 Fontana, Galleria La Polena
1966
Offset lithograph
27Vi x 39 Vi"
Gift of the designer

Exhibition poster

CAKITAKIA SI Al I CDIA I A DAI CKIA ACMA\/A A OO ATTADDC 4ftCC

rv/iM imium UML.Li.riiM lm vjiunuvM i"^o \j i i vont

199
 Max Bill Takashi Kono
225 Pevsner,Vantongerloo, Bill 226 Ideal Relationship
1949 1955
Lithograph Silkscreen
39V4 x 27Vi" 28% x 20V4"
Gift of the Swiss government Gift of the designer

Exhibition poster Poster for tea-

ceremony publication

iy4y • io-iz + 14-17 • m/iohIa^

nzz Jrv<k

200
 Josef Muller-Brockmann Armin Hofmann
227 Musica Viva 228 Robert Jacobsen, Serge Poliakoff
1958 1958
Linocut and letterpress Linocut
50% x 35%" 50% x 35W
Gift of the designer Gift of the designer

Concert poster Exhibition poster

4? jf

>P a
k

201
 Armin Hofmann
229 Wilhelm Tell

Offset lithograph BaslerFreilichtspiele

»' 50*35,4 beimLetziturmimSt.Albantal
'^ede!i9ne G
Theater poster
I5r3l.VIII1963 WilhelmTell

im

202
 Josef Muller-Brockmann Max Huber
230 Der Film 231 Monza
1960 1970
Offset lithograph Offset lithograph
5014 x 3514" 33V« x 26V4"
Gift of Kunstgewerbemuseum, Gift of the designer
Zurich
Poster for an automobile race
Exhibition poster

Kunstgewerbemuseum Zurich
Ausstellung

o
%

%
%

ta

Film
lO.Januar bis 30. April 1960

Offen: Montag 14-18,20-22

Dienstag-Freitag 10-12,14-18,20-22 X
Samstag-Sonntag 10-12,14-17

203
 Josef Muller-Brockmann
232 Weniger Ltirm
Less Noise
1960
Offset lithograph
50V4 x 35Vi"
Acquired by exchange

204
 Karl Gerstner
233 Auch Du bist liberal
You too Are Liberal
1959
Offset lithograph
5014 x 3514"
Gift of the designer

Political poster

auch Du bisb liberal

205
 PlETER BrATTINGA
234 PTT de Man Achter de Vormgeving
van de P.T.T.

PTT The Man Behind the Design

for the Post and Telegraph

1960
Offset lithograph
25 x 14V4-

Gift of De Jong & Company

Exhibition poster

de man a<
12 oktober

206
 TubingerZimmertheater Es spielen: J.Nix, H.Mark, Frieder and Renata Grindler
235 Kaspar
H.Meyer- Dietrich, 1966

A.Richter, Offset lithograph

30 x 20"
G.Neubert, Gift of the designers

Peter Handke Produktion:^P George Froscher K.Tross Theater poster

ICH BIN N ICH.ICH I

JFALLI /sfrtl
ZUFAI
H BIN ICH Bl
BIN W/^'olCHER^«IN

7!

ffl
Al
Bl
FALLI
,U BIN"NL^' BIN f
LIG IC '/ALLIG
MNUR ^\EEINA^ V,BIN Nl
IG ICH. LLIG IC
.JIN NURl/NUl
IAIJ
Z (I
/A/ aI'I/V
NUR
I Al I

207
 C. H. JOHANSEN Milton Glaser
236 Visions 237 Dylan
1967 1966
Offset lithograph Offset lithograph
35 x 23" 33 x 22"
Gift of Joseph H. Heil Gift of the designer
 Richard Avedon
238 John Lennon
1967
Offset lithograph
31 x 22W
Gift of the designer
 Q/966 MMtt-Y 90 G**OD.

TICKETOUTLETS:
SAN FRANCISCO: The Psychedelic Shop, Gtjr Lights Books, Bally Lo, Cedar Alley Coffee House, Sandal Maker (North Beach), Hut T-l State College
SAUSALITO: Tides Book Shop BERKELEY: Moe's Books, Discount Records MENLO PARK: Kepler's Book Store

The Bindweed Preea, Sea Francieco

210
 Victor Moscoso Robert Wesley Wilson Lee Conklin
239 Big Brother & the Holding Co. 240 The Association 241 Procol Harum
1966 1966 1969
Offset lithograph Offset lithograph Offset lithograph
20 Vi x 14" 19'Vi4 X 13%" 2M x 14W
Gift of the designer Purchase fund Gift of the designer

Oxford Circle, Big Brother & The Association, Along Comes Procol Harum, Santana
the Holding Co., Lee Michaels Mary, Quicksilver Messenger Concert poster
Concert poster Service
Concert poster

BILL GRAHAMPRESENTS
IN SAN FRANCISCO
PRESENTEDIN SAN FRANCISCO BY BILL GRAHAM

San Francisco Mill Valley

City Lights Book The Mod Hatter
Psychedelic Shop Sausalito
Bally Lo - Union Square Rexall Pharmacy
Town Squire - 1318 Polk

211
 Victor Moscoso
242 Junior Wells and His Chicago
Blues Band
1966
Offset lithograph
19% x 14"
Gift of the designer

Concert poster
 Victor Moscoso
243 Youngbloods
1967
Offset lithograph
tr kk 20V< x 14"
Peter Stone Poster Fund

Youngbloods,The Other
Half, Mad River
Concert poster

-
mm
< v->4A".

v~
o v' k-V**
mma

PHOTO: PAUL KAGAN ^ r r (^r ZL-t

: SAM FRANCISCO KNASIDKA (HAIGHT-ASHBURY), CITY LIGHTS BOOMS(NORTH BEACH), THE TOWNSQUIRE (1318 POLK). BERKELEY DISCOUNT
RECORDS. SAUSALITO: TIDE'S BOOKSTORE. REDWOOD CITY: REDWOODHOUSE OP MUSIC (700 WINSLOW). SAM HATEO TOWNi COUNTRY
MUSIC CENTER (4TH A EL CAAtINO), LA MER CAMEPJ.SA MUSIC (HILLSDALE AT 19TH). HStLO PAPA: KEPLER'S BOOKS-* MAOAZI.V-S(825
: EL CAM1",'0). SAM JOSE DISCORAKA (235 30. FIRST ST). W>GHOOUmONS 639 OOUGMf v.-
 Victor Moscoso Bob Schnepf
244 Hawaii Pop Rock Festival 246 Avalon Ballroom
1967 1967
Offset lithograph Offset lithograph
20 x 14" 28 x 10W
Gift of the designer Given anonymously

The Canned Heat, Country Jim Kweskin & His Jug Band,
Joe & the Fish, Luke's Country Joe & the Fish,
Pineapple Store, Blues Lee Michaels, Blue Cheer
Crew, Tony Sonoda Concert poster

Victor Moscoso
245 Otis Rush
1967
Offset lithograph
20 x 14"
Gift of the designer

Concert poster

H*4>r

214
 Victor Moscoso Peter Max
247 Quicksilver Messenger Service 248 #12 Captain Midnight

1967 1966

Offset lithograph Offset lithograph

20 V« x 14" 36 x 24"

Gift of the designer Gift of East Hampton Gallery,

New York
Quicksilver Messenger Service, Big
Brother & the Holding Company,
Blue Cheer
Concert poster
 Johannes Reyn

REV-UP
249 IBM, Rev-up
1967
Silkscreen
34% x 24%" OFFICE PRODUCTS DIVISION
Gift of Roberts and Reyn, Inc.
 Tomoko Miho
•M*
250 Great Architecture in Chicago
1967
Silkscreen on metallic paper
Mv>, A •". :
50 x 35"
JJ W is^v- fe%».
.<®s»toWw,.«
—4—-4- •f Gift of Container Corporation
of America

LJ
J
i ji
iSiSR

f I ! f-H »MMg 8>8 WXZF.

i j j * fM •>;«£S?
'/$&& /ESS *•*

1 1 m4 J44rv,J:5?j4;
.7/.VAV
'

j j \A
'juP? .- r-

•'AvJWX •/ ' *WS. W/ss&W

I^feM
• JN ItJf

:f !?!?l:w:

217
 Eduardo Paolozzi WimCrouwel
251 Universal Electronic Vacuum 252 Vorm Gevers

1967 Form Givers

Silkscreen 1968

34 x 24W Offset lithograph

Gift of Pace Gallery 37Vi6 x 24W

Gift of the designer
Exhibition poster
Exhibition poster

218
 Juan
Carlos
Distefano,
Ruben
Fontana,
andCarlos
Soler
253 Olivetti: Diserio y Productos
Olivetti: Designs and Products
1969
Offset lithograph
28Vi x 42W
Gift of the designers

Exhibition poster

Olivetti:
diseno y productos

22 de abril, 4 de mayo
Instituto T. Di Telia
Florida 936 Bs.Aires

Organiza el Centra z z
de Investigacion de
Diseno Industrial

219
 Andy Warhol Andy Warhol
254 Campbell's Tomato Soup 255 Fifth New York Film
1966 Festival-Lincoln Center
Silkscreen 1967
24 x 17" Silkscreen
Given anonymously 45 x 24"
Peter Stone Poster Fund
Exhibition poster in
form of shopping bag

087506

, ntim —

condensed - mm

tomato
x
'i' *
^
v.
j 0
NSrrr
UTE AftH01' of CONTEMPORARY
ART.
BOSTON
^
NEWYORK

PHILHARMONIC
HALLSEPTEMBER20-30

220
 QSQ

Andy Warhol
256 Bank by Andy Warhol
1968
Offset lithograph
29% x 45V*"
Poster fund

Advertisement for
printing equipment

221
 Spl?

Lothar Fischer Marisol

257 Lothar Fischer "Emanationen" 258 Paris Review
Lothar Fischer "Emanations" 1967
1968 Silkscreen
Silkscreen on mylar 32tt x 26"
37V« x 22" Gift of Page, Arbitrio & Resen
Gift of Galerie Casa, Munich
Poster for a magazine
Exhibition poster

222
 Robert Abel
259 7 Up
1975
Offset lithograph
45Vi x 59W
Gift of Leslie Schreyer

Advertisement for a beverage

 Michael English
260 Love Festival
1967
Silkscreen
29% x 40"
Gift of P. Reyner Banham

designed by michael english

u.f.o.31tot.c*.td.tO'ZO»daydavDnlite.
feb lO.bomodogdoo band,
gingerjohnson.bankdick.w.c.fields.
+chien andalou.Salvadordali.
feb 17.soft machine.
Indian music,
disney cattoons.marh
movie.

224
 Marcin Stajewski Uwe Loesch
261 Kamienne Niebo 262 Dakonnen Sie Giftdraufnehmen!

Stone Sky You Bet Your Life!

1979 1984

Offset lithograph Offset lithograph

51V4 x 38 W 46% x 33"

Gift of the designer Gift of the designer

Theater poster Political cabaret poster

225
 DIA
DEL
GUERRIILERO
HEROICO
8DEOCTUBRE
JOURNEE
DUGUERILLERO
HEROIGUE
8OCTOBRE
DAY
OFTHE
HEROIC
GUERRILLA
OCTOBER
8

Elena Serrano
263 Day of the Heroic Guerrilla
1968
Offset lithograph
19% x 13%"
Gift of OSPAAAL

Political poster

Dennis Wheeler
264 Life
1963
Offset lithograph
46% x 59%"
Gift of Time, Inc.

Poster for the magazine

EVENTS.
THEREALITY
OFA WEEK.EVERY
WEE

226
 Seymour Chwast
265 End Bad Breath.
1967
Offset lithograph
37 x 24"
Gift of Pushpin Studios

Antiwar poster

Cristos Gianakos
266 Send Our Boys Home
1966
Offset lithograph
12Vi x 17"
Gift of the designer

End Bad Breath. Antiwar poster

SEND
OURBOYS
HOME

227
 Franciszek Starowieyski Roman Cieslewicz
267 Harold Pinter, Kochanek Lekki Bol 268 Strawinski Persefona
Harold Pinter, The Loved One 1961
1970 Offset lithograph
Offset lithograph 38 x 26W
32Vs x 22W Gift of the designer
Gift of the designer
Opera poster
Theater poster
KAFKA

PROCES

Roman CieSlewicz
269 Kafka Proces
Kafka, Trial
1964
Offset lithograph
32V< x 21V4"
Gift of the designer

Theater poster

229
 Maciej Urbaniec
270 Cyrk
Circus
1970
Offset lithograph
38Vi x 26"
Given anonymously

230
ill

I
Polske
< »l ti

surrealister
Cftarlottentorg
Jan Lenica
271 Polske Surrealister
Polish Surrealists

10-23august1970
Kl 10 17
1970
Offset lithograph
38V« x 26%"
Gift of the designer

Exhibition poster
 v:-"rv
.
W&M

Antoni Kowalski
272 Boom, Jazz '82
1982
Offset lithograph
26% x 37%"
Gift of the designer
'1 ' V'.v J
Concert poster

Mieczyslaw GCrowski
273 Mieczyslaw Gorowski Plakaty
Mieczyslaw Gorowski Posters
1984
Offset lithograph
32% x 23V4"
Gift of the designer

Exhibition poster

232
 Franciszek Starowieyski
274 Moliere, Don Juan
1983
Offset lithograph
35Vi x 26W
Gift of the designer

Theater poster
 Tadanori Yokoo Tadanori Yokoo
275 Made in Japan, Tadanori Yokoo 276 The City and Design
1965 1966
Silkscreen Silkscreen
43 x 31W 41 x 29W
Gift of the designer Gift of the designer

Exhibition poster Poster for a book by Isamu Kurita

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 Tadanori Yokoo
277 Ballad to an Amputated
Little Finger
1967
Silkscreen
40Vi x 28Vi"

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<n ti k
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235
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278 National Bunraku Theater

1971
t '11
Silkscreen .Vv
40 x 28V5"
:9fe-
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Gift of the designer

Puppet theater poster

236
 Tadanori Yokoo
279 Greeting
1972
Offset lithograph

41V* x 28W
Gift of the designer

Advertisement for a printing

company
 Ikko Tanaka Koichi Sato
280 Nihon Buyo 281 New Music Media
1981 New Magic Media
Offset lithograph 1974
40Vi x 28W Silkscreen
Gift of College of Fine Arts, UCLA 40Vi x 28V4"
Gift of the designer
Poster for a dance performance
Concert poster

NihonBuyo
UCLA
Asian Performing Arts
Institute 1981
Los Angeles
Washington, DlC.
New York

238
 Takenobu Igarashi
282 Zen
1981
Offset lithograph
28»/i6 x 40Vi6"
Gift of Leonard A. Lauder

Advertisement for a design firm

239

t r i
 Masatoshi Toda Takao Sasai
283 Parco, A Woman's Skin 284 Handle Me
Absorbs Dreams 1986
1983 Offset lithograph
Silkscreen 33 x 23%"
43 x 31" Gift of the designer. Works Inc.,
Gift of the designer and Rockwell Art Center

Advertisement for a Poster for a beauty (hand) contest

department store

B*Z«» ZCD*

M9Ul*rj&UU&.mmft HAND OUEEN

"87 <ca**aits-jv&«msu*:U*:o9cu

Ka— •*«*
TX03-498-S796
 Akira Inada and
Akihiko Tsukamoto
285 Did You Hear Helen Reddy
Knocking?
1979
Silkscreen
28% x 40%"
Gift of the designers

Advertisement for record albums

+•< Hden Ready CP 8043.- io - A • A Treatl^cK KCl ' 80869 TV— BlueBird LCS 80267
Vdl ix-xM d I Don'tKnot" JdcwToLweKm CI' 80295 &>&%: I _oup
SongForJeffrey ECP 8100.'- ^2j"fc-7'7 t-kfenReddyGreatestHits fcjCS8G37D
Capitol i'J** I'mA Woman WT 80715 -»M—' FreeAnd Easy ECS 80064 MuskrMusk ECS 80621
 Gunther Kieser
286 Der stillgelegte Mensch
The Incapacitated Man
1981
Offset lithograph
46'Vit x 33VW
Gift of HessischerRundfunk

Posterfor a radio play

9.3. Stichwort
DerToddes Patienten
lost alle Probleme
VonTheodorWeiBenbom Der
16.3. stillgelegte
Mensch
Die Spitzensubstanz
VonWalterE.Richartz

6.4.
Die Durchquemng
des Morgentiefs
VonAlfred Behrens

13.4. Montags
Gedampft 19.40
VonRenkeKom 1.Programm

242
 Uwe Loesch
287 Punktum.
Point.
1982
Offset lithograph
33Vis x 46W
Gift of the designer

Advertisement for a printing

company
 • MAX BECKMANN *
Se'bstbildms im Smoking
1927

Deutschland
1930-1939
Christoff Martin Hofstetter
VerbotAnpassungExil
Im Rahmen der Ausstellung 12.August-2.0ktober
288 Deutschland 1930-1939, Verbot
finden im grossen Vortragssaal

iinsthaus
Zurich
Anpassung Exil
des Kunsthauses
Germany 1930-1939, Suppression, taglich Filmvorfiihrungen statt:
Assimilation, Exile
1977 Dienstag und Mittwoch 18.15 Uhr Offnungszeiten:
Donnerstag 15.00 Uhr und 18.15 Uhr Dienstag bis Freitag 10-21Uhr
Offset lithograph
Freitag 18.15 Uhr Samstag und Sonntag 10-17Uhr
50 x 35Vi6" Samstag 15.00 Uhr Montag 14-17Uhr
Gift of the designer Sonntag 10.30 Uhr und 15.00 Uhr Bettag, 18.September, geschlossen

Exhibition poster

244
 Helmut Schmidt-Rhen
289 Kunst nach Wirklichkeit, Ein neuer
Realismus in Amerika und in Europa
Art after Reality, A New Realism
in America and Europe

1978
Offset lithograph
23% x 33"
Gift of the designer

Exhibition poster

ms » '•

wniwn s

:mri'

wei

TICKETS

samstags/sonnrags

245
 HIROSHIMA
APPEALS
1983

Yusaku Kamekura Gunter Rambow

290 Hiroshima Appeals 291 Utopie Dynamit
1983 1976
Offset lithograph Offset lithograph
40% x 28%" 46% x 32%"
Given anonymously Gift of the designer

Posterfor a literary publication

246
 Jukka Veistola Tapio Salmelainen and
292 UNICEF Jukka Veistola
1969 293 DDT
Offset lithograph 1970
39\6 x 27Vi" Offset lithograph
Gift of the designer 47Vi x 31Vi"
Gift of the designers
 Niklaus Troxler
294 McCoy Tyner Sextet
1980
Offset lithograph
50% x 35%"
Gift of The Lauder Foundation,
Leonard and Evelyn Lauder Fund

Concert poster
-t

Niklaus Troxler
295 A Tribute to the Music of
Thelonious Monk
1986
Offset lithograph
50% x 35%"
Gift of the designer

Concert poster

249
250
1
Koichi Sato April Greiman
297 Morisawa & Company, Ltd. 298 Snow White + the Seven Pixels
1983 1986
Silkscreen Offset lithograph
40Vi x 28W 36 x 24"
Gift of the designer Gift of the designer

Advertisement for a printing Poster for a lecture

company

Visual Presentation
6:00 pm
Thursday. November 6

Mount Royal Station Au

Mount Royal Avenue +

251
 Andrzej Pagowski
299 Usmiech Wilka
Wolf's Smile
1982
Offset lithograph
26% x 37"

Purchase fund

Theater poster

US) h-CistfO h/* * c i m ie~ch KA 7

252
 Seitaro Kuroda Grapus
300 Seibu 301 On Y Va
1981 Let's Go
Silkscreen 1977
4014 x 2814" Offset lithograph
Gift of the designer 4714 x 37V4"
Gift of the designer
Poster for an exhibition at
a department store Everybody to Ivry, to the Party,
Toward Change!
Political poster

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253
 Bibliography
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arranged in four sections. The first three 1968. 160 pp. (Exhibition catalogue.) & Charles Boni, 1928. 190 pp.
contain an international selection of books Crawford, Anthony R. (ed.). Posters of WorldWarI Levy, Albert. L'apartheid: Le dos au mur. Preface
and exhibition catalogues under the follow and World War II in the George C. Marshall Re by Alain Weill. Paris: Droit et Liberie Editions,
ing headings: General Works, Books by search Foundation. Introduction by 0. W. Riegel. Musee de l'Affiche et de la Publicite, 1982. 90 pp.
Country, and Individual Designers. The first Charlottesville, Va.: The University Press of Vir (Exhibition catalogue.)
section consists of surveys and works ginia, 1979. 128 pp.
Maindron, Ernst. Les afflches illustrees. Paris: H.
including posters of more than one country. Diederich, Reiner, and Griibling, Richard (eds.). Launette, 1886. 160 pp.
The second and third divisions are limited "Wir haben die Erde nur geborgt." Plakate gegen
Les afflches illustrees, 1886-1895. Paris:
to countries and designers represented in Umweltzerstorung. Weinhem and Basel: Beltz Ver
G. Boudet, 1896. 251 pp.
this publication. The fourth section, Period lag, 1986. 124 pp.
icals, provides a brief listing of journals Mellinghoff, Frieder (ed.). Aufbruch in das mobile
Diederich, Reiner; Griibling, Richard; and Trapp,
Jahrhundert: Verkehrsmittel auf Plakaten. Dort
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mund: Harenberg Kommunikation, 1981. 168 pp.
and Basel: Beltz Verlag, 1983. 96 pp.
Triennale '83: Die besten Plakate der Jahre
Edwards, Gregory J. International Film Poster
General Works Book: The Role of the Poster in Cinema Art, Adver
1980-83. Essen: Deutsches Plakat Museum,
1984. 78 pp. (Exhibition catalogue.)
tising and History. Topsfield, Mass. : Salem House
Alexandre, Arsene; Spielmann, M. H.; Bunner, Ltd., 1985. 224 pp. Miedzynarodoivy Plakat Revolucyjny, 1917-1967.
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Friedman, Mildred (ed.). The 20th Century Poster:
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117 pp. Robert Brown, Alma Law, Armin Hofmann, and the Poster. Zurich: ABC Verlag, 1971. 244 pp.
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feuilletons—joumaux. Preface by Henri Amou-
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Graefe, J.; and Pennell, J. Les afflches etrangeres Berlin: Gebr. Mann Verlag, 1973-80. Vol. 1: pp. (Exhibition catalogue.)
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amerika (1973). Edited by Ruth Malhotra and Polumbaum, Nyna Brael (ed. ). Save Life on Earth.
Behne, Adolf; Landau, P.; and Lowing, H. Das Christina Thon. 227 pp. Vol. 2: Frankreich und Introduction by Bernard Lown; statements by
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1919. 49 pp. 22 plates. Rinkleff, and Bemd Schalicke. 423 pp. Vols. 3 and Rozhdestvenski, Ai Qing, Christa Wolf,and Louise
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1965. 227 pp. (Exhibition catalogue.) Grautoff, Otto. Das modeme Plakat am Ende des Ravera, Camilla; Ashton, Dore; and Italiani, Giulio
19.Jahrhunderts. Leipzig, 1899. C. Per la rivoluzione per la patria per la famiglia e
Bolton, Charles Knowles. A Descriptive Catalogue
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Charles Knowles Bolton with Biographical Notes Abbeville Press, 1987. 432 pp.
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Hiatt, Charles. Picture Posters. London: George
Constantine, Mildred (ed.). The Poster Collection: Bell & Sons, 1895. 367 pp. Reprinted 1976. Rickards, Maurice. Banned Posters. Park Ridge,
Recent Acquisitions. New York: The Museum of N.J.: Noyes Press, 1972. 72 pp.
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255
Sachs, Hans J. The World'sLargest Poster Collec The Museum of Modern Art, 1941. 12 pp. (Pub Davidson, Steef. Images de la revolte, 1965-1975.
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rill, 1969. 96 pp.
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Auswahl aus den verborgenenDepots. Munich: Die Mass. : MIT Press, 1984. 520 pp.
Capitaine, Jean-Louis, and Charton, Balthazar
Neue Sammlung, 1981. 47 pp. (Exhibition cata
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logue.)
Paris: Frederic E Birr, Ateliers H. Labat, 1983. von 1909 bis zur Gegenwert. Essen: Baedeker,
Whitney, John Hay. Posters for Defense. New York: 159 pp. 1928. 168 pp.

256
Festschrift zur Feier des 25jahrigen Bestehens der and A. Rossi. Milan: Societa per le Belle Arti e ostocki. Vienna: Econ-Verlag, 1962. n.p.
Manoli Zigarettenfabrik zu Berlin. Berlin: Manoli, Esposizione Permanente, 1965. 55 pp. Rutkiewicz, Anna (ed.). Das polnische Plakat von
1919. 1892 bis Heute. Statements by Heinz-Jiirgen
Mazzotti, Giuseppe (ed. ). La montagna nei mani
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1910-1914. Forderung derPlakatkunst durch Karl- Liberia Editrice Canova, 1967. (Exhibition cata Anna Rutkiewicz, Jan Zylinski, and Martin
Ernst Osthaus. Hagen: Karl-Emst-Osthaus-Mu- logue.) Krampen. Berlin: Hochschule der Kiinste Berlin,
seum, 1969. 30 pp. (Exhibition catalogue.) 1980. 192 pp.
Menegazzi, Luigi. L'epoca d'oro del manifesto: 200
Herzfelde, Wieland. John Heartfield: Leben und manifesti italiani del 1882 al 1925. Milan: Electa Schardt, Hermann. Vier polnische Plakatkiinstler.
Werk. Dresden: VEB Verlag der Kunst, 1976. 3rd Editrice, 1977. 138 pp. (Roman Cieslewicz, Jan Lenica, Jozef Mroszczak,
ed. 387 pp. Henryk Tomaszewski.) Essen: Deutsches Plakat-
Veronesi, Giulia (ed.). Grafica ricordi "dal mani
Museum, 1971. 38 pp. (Exhibition catalogue. )
Hillman, Hans, and Rambow, Gunter. "EinPlakat festo storico all produzione d'avanguardia." State
ist eine Flache die ins Auge springt": Plakate der ments by Sangiorgi and Giorgio Mascherpa. Rome: Szemberg, Henryk (ed.). Polish Poster. Warsaw:
Kasseler Schule. Frankfurt: Zweitausendeins, Ente Premi Roma, 1967. 118 pp. (Exhibition cata WydawnictwoArtystyczno-Graficzno RSW Prasna,
1979. 475 pp. logue. ) [1957?]. 188 pp.
Medebach, Friedrich. Das Kampfplakat: Aufgabe, Wasniewski,Jerzy. Plakat polski/The Polish Poster.
Japan
Wesen und Gesetzmassigkeit des politischen Edited by Aleksy Czerwinski and Zofia Ksiazek.
Plakats, nachgewiesenan den Plakaten derKampf- L'affichejaponaise: Des origins a nos jours. State Warsaw: Wydawnictwo Artystyczno-Graficzno,
jahre von 1918-1933. Frankfurt am Main: M. Die- ments by Genevieve Gaeton-Picon, Hidemi Kohn, 1972. 156 pp.
sterweg, 1941. Katsuhiro Yamaguchi,and YoshiroImai. Paris: Mu
Zanozinski, Jerzy (ed.). Od Mlodej polski do
see de l'Affiche, 1979. 112 pp. (Exhibition cata
Plakate: Gedanke und Kunst, Einiges aus der Naszych dni. Preface by Stanislaw Lorentz; intro
logue.)
Plakat-Praxis. Stuttgart: Propaganda Stuttgart, duction by Janina Fijalkowska. Warsaw: Muzeum
1912. (64 pp. with 30 lithographed inserts in color.) Calza, Gian Carlo (ed. ). Japanische Plakate Heute: Narodowe w Warsawie, 1966. 232 pp. (Introduction
250 Beispiele von 25 Kunstlern. Preface by Margit in Polish, French, and Russian.)
Popitz, Klaus. Plakate der zwanzigerJahre aus der
Staber. Milano: Gruppo Editoriale Electa, 1979.
KunstbibliothekBerlin. Berlin: Gebr. Mann Verlag,
165 pp. (Exhibition catalogue. ) Spain
1977. 119 pp. (8 posters in facsimile folded in
pocket. ) Hara, Hiromu (ed.), for the Tokyo Art Directors' L'affiche de guerre!Poster Art in War!El cartell de
Club. Nihon no Kokoku Bijutsu —Meijo, Taisho, guerra/El cartel de guerra. Barcelona: Llauger,
Rademacher, Hellmut. Das deutsche Plakat: Von [1937?]. 44 pp. (Text in French, English, Catalan,
Showa, 1: Posta {AdvertisingArt of Japan of the
den Anfangen bis zur Gegenwart. Dresden: VEB and Spanish.)
Meiji, Taisho,Showa Eras, v. 1: Posters). Contribu
Verlag der Kunst, 1965. 306 pp. tions in Japanese by Masataka Ogawa and Ayao
Deutsche Plakatkunst und ihre Meister. Yamana.Tokyo: Bijutsu Shuppansha, 1967. 270 pp. Sweden
Leipzig: Edition Leipzig, 1965. 137 pp. (4 posters (Foreword in English and Japanese.)
Bjurstrom, Per. Svenska reklamaffischer. Stock
reproduced in facsimile in accompanying portfolio.) Kristahn, Heinz-Jiirgen, and Mellinghoff, Frieder. holm: Nationalmuseum, 1986. 23 pp. (Exhibition
Plakatskunst im Klassenkampf Japanische Plakate: Die Kunst der visuellen An- catalogue.)
1924-1932: 24 politische Plakate aus der Zeit der sprache aus Tradition—In Gegenwart und
Lipschutz, Paul (ed.). Svenska affischer 1895-1979
WeimarerRepublik 1924-1932 . Leipzig: Zentralan- Zukunft. Foreword by Makaoto Takahashi.
ur P. Lipschutz Samling. Stockholm: Kulturhuset,
tiquariat der DDR, 1974. (Facsimile posters re Miinsterschwarzach: Vier-Turme-Verlag, 1983.
1979. 33 pp. (Exhibition catalogue.)
produced full size; 12 pp. introduction laid in.) 159 pp.
Schmidt-Linsenhoff, Viktoria; Wettengl, Kurt; Stroeve, Ada; de Groot, Elbrig; and Watano, Switzerland
Junker, Almut (eds.). Plakate 1880-1914, In- Shigeru (comps.). Japanese affichesvan de laatste 10
Etter, Philipp (intro.). Das schweizer Plakat/The
ventarkatalog der Plakatsammlung des Histo- jaar. Amsterdam: Stedelijk Museum, 1977. 28 pp.
Swiss Poster!L'affiche suisse/El anuncio suizo/Il
rischen Museums Frankfurt. Foreword by Reiner (Exhibition catalogue. )
cartellone suizzero/O cartaz suigo. Zurich: Pro
Koch. Frankfurt: Historisches Museum Frankfurt, Zuan shiryo posta-shu {Design Reference Poster Helvetia, 1950. 48 pp. text; 18 pp. plates. (Exhibi
1986. 485 pp. (Exhibition catalogue. ) Collection). Compiled by National Postal Museum. tion catalogue.)
Schoch, Reiner (for.). Politische Plakate der Tokyo: Teishin Hakubutsukan, 1937. 124 pp.
Kulturelle Plakate der Schweiz. Zurich: Kunst-
Weimarer Republic 1918-1933. Essays by Klaus gewerbemuseum Zurich, 1974. 80 pp. (Exhibition
Wolbert, Reiner Diederich, and Richard Grubling. The Netherlands
catalogue. )
Darmstadt: Hessisches Landesmuseum, 1980. Brattinga, Pieter, Jr., and Dooijes, Dick. A History
157 pp. (Exhibition catalogue.) Liithy, Wolfgang(ed.). Die besten Plakate der Jahre
of the Dutch Poster, 1890-1966. Preface by H. L. C.
1941-1965 mit der Ehrenurkunde des eidge-
Weber, Wilhelm. Peter Behrens, 1869-1940: Jaffe. Amsterdam: Scheltema & Holkema, 1968.
nossischen Departementes des Innem. Preface by
Gedenkschrift mit Katalog aus Anlass der Aus- 170 pp.
Hans Peter Tschudi; essays by Berchtold von Gru-
stellung. Kaiserslautem: Pfalzgalerie, 1966. (Ex Polak, Bettina. Het Fin-de-siecle in de nederlandse nigen and Werner Kampfen. Zurich: Allgemeine
hibition catalogue.) Schilderkunst. The Hague: Nijhoff, 1955. 415 pp. Plakatgesellschaft im Verlag der Visualis, 1968.
227 pp. (Text in German, French, and English.)
Great Britain
Poland
Margadant, Bruno (ed.). The Swiss Poster:
Hutchinson, Harold E London Transport Posters. Bojko, Szymon; Czerwinski, Aleksy; and Ksiazek, 1900-1983. Foreword by Oskar Batschmann.
London: London Transport Board, 1963. 23 pp.; Zofia (eds.). Polska sztuka plakatu: Poczqtki k Roz- Basel: Birkhauser Verlag, 1983. 287 pp. (Text in
124 plates. wdj do 1939 Roku. Documentation by Janina Fijaf- German, English, and French.)
Picon, Genevieve (intro.). L'affiche anglaise: Les kowska. Warsaw: Wydawnictwo Artystyczno-
Meylan, Jean; Maillard, Philippe; and Schenk,
annees 90. Preface by Roland Barthes; compiled by Graficzne, 1971. 232 pp.
Michele. Burger zu den Umen. 75 Jahre
Laurence Bosse, Anne Kimmel, and Dominique Fijalkowska, Janina. Muzeum Narodowe w War- eidgendssischeAbstimmungen im Spiegel des Pla-
Negel. Paris: Musee des Arts Decoratifs, 1972. szawie. Od mlodej polski do naszych dni. Katalog kates. Lausanne: Andre Eisele, 1977. 199 pp.
110 pp. (Exhibition catalogue.) wystawyplakatu {Le developpementde I'ajfiche en
Rotzler, Willy, and Wobmann, Karl. Political and
Strong, Ray. London Transport Posters. Compiled Pologne). Warsaw, 1966. 163 pp. 64 plates. (Text in
Social Posters of Switzerland: A Historical Cross-
by Michael Levey. London: Phaidon, 1976. 80 pp. Polish with French introduction.)
Section. Zurich: ABC Edition, 1985. 155 pp. (Text in
Kowalski, Tadeusz. Polski Plakat Filmowy. War English, German, and French.)
Italy saw: Filmowa Agencja Wydawnicza, 1957. 142 pp.
Stutzer, Beat (intro.). Graubiinden im Plakat:
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Eine kleine Geschichte der Tourismuswerbung von
fascismo. Milan: Fratelli Fabri Editori, 1971. man.)
1890 bis Heute. Essays by Irma Noseda and Luzi
143 pp. Mroszczak, Jozef (ed.). Polnische Plakatkunst. Dosch. Chur: Biindner Kunstmuseum, 1983.
II manifesto italiano. Statements by A. M. Brizio Preface by Jan Lenica; introduction by Jan Bial- 98 pp. (Exhibition catalogue. )

257
Triet, Max, and Wobmann, Karl (eds.). Swiss Sport USSR Steen, Marguerite. William Nicholson. London:
Posters: Historical View of the Best Competition Baburina, Nina I. Russkii Plakat vtoroi poloviny Collins, 1943. 229 pp.
Posters. Zurich: ABC Verlag, 1983. 151pp. (Text in XlX-nachala XX veka. Moscow: Khudozhnik
English, German, and French.) RSFSR, 1983. Max Bill
Tschanen, Armin, and Bangerter, Walter (eds.). SowjetischeStummfilmplakate. Forewords Max Bill: Das druckgraphische Werk bis 1968.
Official Graphic Art in Switzerland. Zurich: ABC by Jiirgen Harten and Klaus Schrenk. Diisseldorf: Nuremburg: Kunsthalle Albrecht Dtirer-Gesell-
Verlag, 1964. 184 pp. Stadtische Kunsthalle, 1985. 36 pp. (Exhibition cat schaft, 1968. (Exhibition catalogue. )
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Pierre Bonnard
Werbestil1930-1940. Die alltagliche Bildersprache Bojko, Szymon. New Graphic Design in Revolu
eines Jahrzehnts. Zurich: Kunstgewerbemuseum tionary Russia. Preface by Herbert Spencer. New Roger-Marx, Claude. Bonnard lithographe. Monte
der Stadt Zurich, Museum fur Gestaltung, 1981. York: Praeger Publishers, 1972. 156 pp. Carlo: Andre Sauret Editions du Livre, 1952.
180 pp. (Exhibition catalogue.)
Constantine, Mildred, and Fern, Alan M. Revolu Will Bradley
Wobmann, Karl (ed. ). Touristikplakate der Schweiz tionary SovietFilm Posters. Baltimore and London:
1880-1940. Preface by Werner Kampfen; introduc The Johns Hopkins University Press, 1974. 97 pp. Will Bradley: His Chap Book. New York: The
tion by Willy Rotzler. Aarau: AT Verlag, 1980. Typophiles, 1955. 104 pp.
160 pp. (Text in German, English, French, and Duvakin, V. D. ROSTA Fenster, Majakowski als
Italian.) Dichter und Bildender Kiinstler. Dresden: VEB Alexey Brodovitch
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tigny-Ville: Manoir de Martigny, 1977. 78 pp. (Ex Lebedev, I.V.V., and Punin, N. N. Russkii Plakat and Catalog. Philadelphia: Philadelphia College of
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American Poster. New York: The American 127 pp.
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Anthony Velonis, Jim Heimann, and Richard Biihler/Pierre Gauchat. Basel: Gewerbemuseum
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Basel, 1964.
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Seattle, 1987. 175 pp. Emile Cardinaux
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Cogswell, Milton Glaser, Dore Ashton, and Alan Kunstgewerbemuseum, 1985. 48 pp. (Exhibition
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ferstich-Kabinett, 1980. 79 pp. (Exhibition cata Hudson, Derek. James Pryde, 1866-1941. London: Posters. Foreword by Dorit Marhenke; introduction
logue.) Constable, 1949. 99 pp. by Karl Dedecius. Heidelberg: Braus, 1984. 148

258
pp. (Exhibition catalogue; text in English, French, Ludwig Hohlwein ters, Texts. Greenwich, Conn. : New York Graphic
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Plakate der Jahre 1906-1940 aus der Graphisch-
Vitt, Walter. Walter Dexel: Werkverzeichnis der Bertold Loffler. Vienna: Galerie Metropol, 1980.
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Charles Rennie Mackintosh
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der Perre, 1973. Rikuyoi-sha Publishing, 1983. 267 pp. Man Ray

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259
Eduardo Paolozzi Ben Shahn Boston: David Godine, 1975. 160 pp.
Miles, Rosemary. The CompletePrints of Eduardo Prescott, Kenneth W. The CompleteGraphic Works
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melteschriften und Werke. Berlin, 1970. Ilia Zdanevitch
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Praze, 1964. Baburina and Alia Mikhailovna Zaitseva; compiled
by Baburina and Galina Vasil'evna Maricheva. Miiller, Fridolin (ed.). Piet Zwart. New York: Hast
Paul Rand Moscow: Moskovskaia organizatsilia Soiuza ings House, 1966. 112 pp. (Text in German, En
khudozhnikov RSFSR, 1984. 62 pp. (Exhibition cat glish, and French.)
Kamekura, Yusaku (ed.). Paul Rand: His Work
from 1946 to 1958. New York: Alfred A. Knopf; alogue with detailed chronology; text in Russian.)
Tokyo: Zokeisha, 1959. 132 pp. (Text in English and Periodicals
Japanese.) Niklaus Stoecklin

Rand, Paul. A Designer's Art. New Haven: Yale Hartmann, Hans, and Budliger, Hansjorg (eds.).
Affiches (Tokyo), 1923-1932(?)
University Press, 1985. 239 pp. Niklaus Stoecklin1896-1982. Foreword by Frieder
Mellinghoff; statements by Bruno Haldner, Hans Die besten Plakate desJahres (Basel), 1942 to date.
Thoughts on Design. New York: Witten- Hartmann, and Stefan Paradowski. Basel: Gewer- Annual publication of the Swiss Department of the
born, Schultz, Inc., 1947. 159 pp. (Text in English, bemuseum Basel, Museum fur Gestaltung, 1986. Interior showing posters selected for this honor.
French, and Spanish.) 98 pp. (Exhibition catalogue.) Published in German and French since its incep
tion. In 1976 title was changed to Schweizer Pla
Alexander Rodchenko Ikko Tanaka kate.
Khan-Magomedov, Selim. Rodchenko: The Com Tanaka Ikko no dezain/The Work of Ikko Tanaka. Bienale Brno. Mezinarodni vystava propagachi
plete Work. Boston: MIT Press, 1986. 275 pp. Kyoto: Shinshindo, 1975. 215 pp. (Text in English grafiky a plakatu (Brno), 1974 to date.
and Japanese.)
Xanti Schawinsky Biennale plakatu Warszawa (Warsaw), 1966 to
Johan Thorn-Prikker date. Text in Polish and English.
Holz, Hans Heinz. Xanti Schawinsky: Bewegungim
Raum. Zurich: ABC Verlag, 1981. 139 pp. Wember, Paul. Johan Thorn-Prikker, Glasfenster, Graphis Posters (Zurich), 1973 to date.
Wandbilder, Ornamente 1891-1932. Catalogue by
Paul, Barbara (ed.). Xanti Schawinski: Malerei, Die hundert bestenPlakate desJahres (East Berlin),
Johannes Cladders. Krefeld: Scherpe Verlag, 1966.
Biihne, Grafikdesign, Fotografie. Berlin: Bauhaus 1983 to date?
260 pp.
Archiv, 1986. 221 pp. International Poster Annual (St. Gall), 1948/49-
Jan Toorop 1972.
Egon Schiele
De Grafiek van Jan Toorop.Amsterdam: Rijkspren- Lahti Poster Biennale (Lahti), 1973 to date. Text in
Kallir, Otto. Egon Schiele: Das druckgraphische
tenkabinet/Rijksmuseum, 1969. Finnish and English.
Werk. Vienna: Paul Zsolnay Verlag, 1970. (Text in
German and English.) Modern Publicity (London), 1924 to date. (From
Henri de Toulouse-Lautrec
1924 as Posters and Their Designers', from 1925 as
Oskar Schlemmer Castleman, Riva, and Wittrock, Wolfgang (eds.). Art and Publicity, from 1926 to 1930 as Posters and
Henri de Toulouse-Lautrec: Images of the 1890s. Publicity.)
Grohmann, Will, and Schlemmer, Tut. Oskar
Introduction by Castleman; essays by Julia Frey,
Schlemmer: Zeichnungen und Graphik, Oeuvre- Das Plakat (Berlin), 1913-1921. (From 1910to 1912
Matthias Arnold, and Phillip Dennis Cate; cata
Katalog. Stuttgart: Verlag Gerd Hatje, 1965. as Mitteilungen des Vereinsder Plakatfreunde. )
logue by Wittrock. New York: The Museum of
Modern Art, 1985. 262 pp. (Exhibition catalogue. ) Poster (Chicago), 1910-1930.
Joost Schmidt
Julien, Edouard. The Posters of Toulouse-Lautrec. Poster and Art Collector (London), 1898-1901.
Loew, Heinz, and Nonne-Schmidt, Helene. Joost
Boston: Boston Book & Art Shop, 1966. 97 pp.
Schmidt: Lehre und Arbeit am Bauhaus 1919-1932. Poster Collector's Circular (London), 1899.
Dusseldorf: Edition Marzona, 1984. 118 pp. Wittrock, Wolfgang. Toulouse-Lautrec: The Com
Poster Lore (Kansas City, Mo.), 1896.
plete Prints. London: Sotheby's Publications, 1985.
Paul Schuitema 2 vols. 831 pp. (Translated and edited by Catherine Pramierte Plakate (Zurich and Basel), 1941to date.
E. Kuehn.) Annual publicationof posters awarded prizes by the
Buchmann, Mark (ed.). Ein Pionier der hollan- Swiss Department of the Interior. Published by
dischen Avantgarde, Paul Schuitema. Zurich:
Niklaus Troxler the Allgemeine Plakatgesellschaft. Published in
Kunstgewerbemuseum, 1967. 8 pp. (Exhibition French, Italian, and English in addition to German
catalogue.) Rotzler, Willy.Niklaus Troxler. Bern: Plakatgalerie
since 1982.
Klubschule, 1981.
Kurt Schwitters Projekt (Warsaw), 1956 to date.
Jan Tschichold
Elderfield, John. Kurt Schwitters. London: Thames PS: The Journal of the Poster Society (New York),
and Hudson, 1985. 424 pp. McLean, Ruari. Jan Tschichold: Typographer. 1986 to date.

260
 f

Index of
ILLUSTRATIONS

This listing of illustrations is organized Buhler, Fritz (Swiss, 1909-1963): 202, 205 Gan, Alexei (Russian, 1893-1940): 132
alphabetically by the name of the designer. Burchartz, Max (German, 1887-1961): 101, 102 Gauchat, Pierre (Swiss, 1902-1956): 190
Works for which the designer is unknown Burkhard (n.d.): 116 Gaul, Winfred (Austrian, b. 1928): 216
Gerstner, Karl (Swiss, b. 1930): 233
appear at the end of the listing. Figure
Gianakos, Cristas (American, b. 1934): 266
numbers are given for black-and-white il Cardinaux, Emile (Swiss, 1877-1936): 52 Glaser, Milton (American, b. 1929): 237
lustrations. Plate numbers in italics indicate Carlu, Jean (French, b. 1900): 195, 197 Gorowski, Mieczyslaw (Polish, b. 1941):273
color illustrations. Cassandre, A. M. (Adolphe Mouron) (French, Granovsky (Russian, n.d.): 88
b. Russia, 1901-1968): 153, 154, 155, 156, Grapus (design group, founded 1970): 301
Abel, Robert (American, n.d.): 259 157, 158, 159, 160, 161, 162, 163, 169, 181 Greiman, April (American, b. 1948): 298
Albers, Josef (American, b. Germany, Cheret, Jules (French, 1836-1932): 3; 1, 2 Gretczko, Robert (American, b. 1944): 220
1888-1976): 24 Chermayeff, Ivan (American, b. 1932): 210 Grindler, Frieder and Renata (German, b. 1941
Ambasz, Emilio (Argentinian, b. 1943, lives in Chwast, Seymour (American, b. 1931): 265 and 1940): 235
United States): 223 Cieslewicz, Roman (Polish, b. 1930): 268, 269 Grosz, George (American, b. Germany,
Ancona, Victor (American, b. 1912): 193 Colin, Paul (French, 1892-1985): 173 1893-1959): 14
Andri, Ferdinand (Austrian, 1871-1956): 44 Conklin, Lee (American, b. 1941):241 Guimard, Hector (French, 1867-1942): 37
Apollinaire, Guillaume (French, 1880-1918): 12 Connor, Jay (American, n.d.): 37 Guminer, Yakov(Russian, 1896-1942): 134, 146
Arp, Jean (Hans) (French, b. Alsace, 1887-1966): Crotti, Jean (French, 1878-1958): 87
125 Crouwel, Wim (Dutch, b. 1928): 252
Arpke, Otto (German, 1886-1943): 78 Cyliax, Walter (German, 1899-1945): 125 Harlfinger, Richard (Austrian, 1873-1948): 39
Avedon, Richard (American, b. 1923): 238 Hausmann, Raoul (Austrian, 1886-1971): 15, 16
Hazenplug, Frank (American, 1873—[1908?]): 21
Delaunay, Robert (French, 1885-1941): 88 Heartfield, John (Helmut Herzfelde) (German,
Bachollet, Jean-Paul (French, b. 1932): see Deutsch, Ernst (Austrian, 1883-1938): 62 1891-1968): 14
Grapus Dexel, Walter (German, 1890-1973): 94, 98 Heine, Thomas Theodor (German, 1867-1948):
Baksteen, Gerard (Dutch, n.d.): 113 Distefano, Juan Carlos (Argentinian, b. 1933): 30
Ballmer, Theo H. (Swiss, 1902-1965): 119, 120, 253 Hodler, Ferdinand (Swiss, 1853-1918): 49
121, 122 Diggelmann, Alex W. (Swiss, b. 1902): 191 Hofstetter, Christoff Martin (Swiss, b. 1944): 288-
Barth, Ruodi (Swiss, b. 1921): 202 van Doesburg, Theo (C. E. M. Kiipper) (Dutch, Hofmann, Armin (Swiss, b. 1920): 228, 229
Baumberger, Otto (Swiss, 1889-1961): 124, 188, 1883-1931): 16; 84 Hohlwein, Ludwig (German, 1874-1949): 51, 53,
189 Dolgorukow, Michael (Russian, 1902-1980): 148 54, 55, 56, 57, 58, 59, 60, 61, 192
Bayer, Herbert (American, b. Austria, Duchamp, Suzanne (French, 1889-1963): 87 Huber, Max (Italian, b. Switzerland, 1919): 212,
1900-1985): 23; 93, 95, 96, 107, 109, 199, 231
200, 206 Huszar, Vilmos (Hungarian, lived in the
Beall, Lester (American, 1903-1969): 185, 186 Netherlands, 1884-1960): 16
Beardsley, Aubrey (British, 1872-1898): 13 Ehrlich, Christa (Dutch, n.d.): 112
The Beggarstaffs (WilliamNicholson, British, English, Michael (British, b. 1939): 260
1872-1949; James Pryde, Scottish, Ensor, James (Belgian, 1860-1949): 24
Emi, Hans (Swiss, b. 1909): 201 Igarashi, Takenobu Oapanese, b. 1944): 282
1869-1941): 15, 16, 17 Inada, Akira Oapanese, n.d.): 285
Behrens, Peter (German, 1869-1940): 9 Ernst, Max (French, b. Germany, 1891-1976): 89
Itten, Johannes (German, 1888-1967): 21
Belski, Anatoli (Russian, 1896-1970): 145
Bernard, Francis (French, b. 1900): 184
Bernard, Pierre (French, b. 1942): see Grapus Fischer, Lothar (German, b. 1933): 257
Bemhard, Lucian (American, b. Austria, Fix-Masseau, Pierre (French, b. 1905): 171 Johansen, C. H. (American, n.d.): 236
1883-1972): 63, 64, 66, 67, 68, 69 Flagg, James Montgomery (American, Jordan, Alex (German, b. 1948): see Grapus
Bill, Max (Swiss, b. 1908): 126, 225 1877-1960): 10 Junot, J. P. (French, n.d.): 170
Bonnard, Pierre (French, 1867-1947): 6, 7, 8 Fontana, Ruben (Argentinian, b. 1942): 253
Borisov, Grigory (Russian, n.d.): 144 Fronzoni, A. G. (Italian, b. 1923): 224
Boscovits, Fritz (Swiss, 1871-1965): 34 Fuchs, Heinz (German, 1886-1961): 74 Kamekura, Yusaku Oapanese, b. 1915): 290
Bradley, Will (American, 1868-1962): 18, 19, 20 Kauffer, E. McKnight (American, 1890-1954):
Brattinga, Pieter (Dutch, b. 1931): 234 81, 82, 164, 165, 166, 167, 178
Brodovitch, Alexey (Russian, 1900-1971): 123 Gallen-Kallela, Akseli (Finnish, 1865-1931): 31 Keller, Ernst (Swiss, 1891-1968): 117

261
Kieser, Giinther (German, b. 1930): 286 Nicholson, William, see The Beggarstaffs Stahl, Erich Ludwig (German, n.d.): 78
Klimt, Gustav (Austrian, 1862-1918): 41 Nitsche, Erik (American, b. Switzerland, 1908): Stajewski, Marcin (Polish, b. 1938): 261
Klutsis, Gustav (Russian, 1895-1944): 147, 150, 209 Starowieyski, Franciszek (Polish, b. 1930): 267,
151, 152 Norton, John Warner (American, 1876-1934): 70 274
Koehler, Karl (American, b. 1913): 193 Stenberg, Vladimir and Georgii (Russian,
Kokoschka, Oskar (British, b. Austria, 1899-1982 and 1900-1933): 137, 138, 140,
1886-1980): 46 Olbrich, Joseph Maria (Austrian, 1867-1908): 42 141, 142
Kono, Takashi (Japanese, b. 1906): 226 Oppenheimer, Max (Austrian, 1885-1954): 47 Stepanov, I. (Russian, n.d.): 130
Kowalski, Anton (Polish, b. 1957): 272 Orazi, Manuel (Emmanuel Joseph Raphael) Stoecklin, Niklaus (Swiss, 1896-1982): 115
Krichevski (Russian, n.d.): 139 (French, b. Rome, 1860-1934): 11
Kuhn, Charles (Swiss, b. 1903): 204
Kunimasa, Utagawa Japanese, 1773-1810): 4 Tanaka, Ikko Japanese, b. 1930): 218, 280
Kuniyoshi, Utagawa Japanese, 1798-1861): 5 Pagowski, Andrzej (Polish, b. 1953): 299 Thom-Prikker, Johan (Dutch, 1868-1932): 38
Kuroda, Seitaro Japanese, b. 1939): 300 Paolozzi, Eduardo (Scottish, b. 1924): 251 Toda, Masatoshi Japanese, b. 1948): 283
Kurtz, Helmut (Swiss, 1877-1959): 104 Paris-Clavel, Gerard (French, b. 1943): see Toorop, Jan (Dutch, bom Java, 1858-1928): 25,
Grapus 26
Pechstein, Max (German, 1881-1955): 73 Toulouse-Lautrec, Henri de (French, 1864-1901):
Lazzaro, U. di (Italian, n.d.): 174 Penfield, Edward (American, 1866-1925): 22 3, 4, 5
Lebeau, J. J. Christian (Dutch, 1878-1945): 29 Pintori, Giovanni (Italian, b. 1912): 207, 215 Troxler, Niklaus (Swiss, b. 1947): 294, 295
van der Leek, Bart (Dutch, 1876-1958): 25; 110 Poelzig, Hans (German, 1869-1936): 76 Tschichold, Jan (Swiss, b. Germany, 1902-1974):
Leger, Femand (French, 1881-1955): 34 Polke, Sigmar (German, b. 1941):219 99, 100, 127, 128
Lenica, Jan (Polish, b. 1928): 271 Popp-Kircheim (n.d.): 176 Tsukamoto, Akihiko Japanese, b. 1952): 285
Lionni, Leo (American, b. the Netherlands, Preetorius, Emile (German, 1883-1973): 32 Turbayne, A. A. (British, 1866-1940): 12
1910):196 Preisler, Jan (Czech, 1872-1918): 33 Tzara, Tristan (French, 1896-1963): 13
El Lissitzky (Lazar Markovich Lissitzky) Prusakov, Nikolai (Russian, 1900-1952): 143, 144
(Russian, 1890-1941): 16, 17, 18, 20; 86, 149 Pryde, James, see The Beggarstaffs
Loesch, Uwe (German, b. 1943): 262, 287 Purvis, Tom (British, 1889-1959): 182, 183 Urbaniec, Maciej (Polish, b. 1925): 270
Loftier, Bertold (Austrian, 1874-1960): 45
Loupot, Charles (French, 1892-1962): 172
Lustig, Alvin (American, 1915-1955): 37 Raemaekers, Louis (Dutch, 1869-1956): 75 Veistola, Jukka (Finnish, b. 1946): 292, 293
Rambow, Gunter (German, b. 1938): 291 van de Velde, Henry (Belgian, 1863-1957): 8
Rand, Paul (American, b. 1914): 36; 211 Vignelli, Massimo (Italian, b. 1931, lives in United
Mackintosh, Charles Rennie (Scottish, Renggli, Eduard (Swiss, 1882-1939): 50 States): 222
1868-1928): 14 Reyn, Johannes (German, b. 1935, lives in United
Maes, Karel (Belgian, 1900-1974): 83 States): 249
Malevich, Kasimir (Russian, 1878-1935): 28 Rodchenko, Alexander (Russian, 1891-1956): 16, Warhol, Andy (American, 1928-1987): 254, 255,
Man Ray (American, 1890-1976): 168 29, 30, 31, 32; 129, 133, 136 256
Manet, Edouard (French, 1832-1883): 6 Weingart, Wolfgang (Swiss, b. 1941): 296
Marinetti, Filippo Tommaso (Italian, 1876-1944): Wenk, Wilhelm (German, n.d.): 118
11 Said, Rudi (n.d.): 71 Wenzel, E H. (German, n.d.): 97
Marisol (Marisol Escobar) (Venezuelan, Salmelainen, Tapio (Finnish, b. 1941):293 Wenzel, Kurt (German, n.d.): 77
b. France, 1930): 258 Sasai, Takao Japanese, b. 1956): 284 Westrell, B. (Swedish, b. 1927): 203
Matter, Herbert (American, b. Switzerland, Sato, Koichi Japanese, b. 1944): 281, 297 Wheeler, Dennis (American, b. 1937): 264
1907-1984): 179, 180, 208 Satomi, Munetsugu Japanese, b. 1902): 175 Wiertz, Jupp (German, 1881-1939): 65
Max, Peter (American, b. Germany, 1937): 248 Savignac, Raymond (French, b. 1907): 35 Wijdeveld, Hendrikus (Dutch, 1885-1987): 111
Mayakovsky, Vladimir (Russian, 1893-1930): 27 Schawinsky, Xanti (American, b. Switzerland, Wilson, Robert Wesley (American, b. 1937): 240
Meunier, Henri (Belgian, 1873-1922): 35 1904-1979): 187 Witzel, Josef Rudolf (German, 1867-1927): 36
Michel, Karl (German, b. 1885): 79 Schiele, Egon (Austrian, 1890-1918): 48
Miho, Tomoko (American, b. 1931): 250 Schlemmer, Oskar (German, 1888-1943): 90, 92
Moholy-Nagy, Laszlo (American, b. Hungary, Schmidt, Joost (German, 1893-1948): 91 Yamashiro, Ryuichi Japanese, b. 1920): 217
1895-1946): 19, 22 Schmidt, Wolfgang (German, b. 1930): 221 Yokoo, Tadanori Japanese, b. 1936): 275, 276,
Molzahn, Johannes (German, 1892-1965): 105, Schmidt-Rhen, Helmut (German, b. 1936): 289 277, 278, 279
106 Schnepf, Bob (American, b. 1937): 246
Morach, Otto (Swiss, 1887-1973): 40 Schuitema, Paul (Dutch, 1897-1975): 108
Morris, William (British, 1834-1896): 7 Schulz-Neudamm (German, n.d.): 80 Zamowerowna, Teresa (Russian, n.d.): 16
Morse, Joseph W. (American, n.d.): 2 Schwabe, Carlos (Swiss, 1866-1926): 27 Zdanevitch, Ilia (Iliazde) (French, b. Russia,
Moscoso, Victor (American, b. Spain, 1936): Schwitters, Kurt (British, b. Germany, 1894-1974): 85
239, 242, 243, 244, 245, 247 1887-1948): 16; 84 Zimmerman, Charles (American, b. 1942): 220
Moser, Koloman (Austrian, 1868-1918): 43 Serrano, Elena (Cuban, n.d.): 263 Zwart, Piet (Dutch, 1885-1977): 26; 114
Mucha, Alphonse (Czech, lived in France, Shahn, Ben (American, b. Lithuania, 1898-1969):
1860-1939): 9, 10 194, 198
Miiller-Brockmann, Josef (Swiss, b. 1914): 227, Simov, V. (Russian, n.d.): 130
230, 232 Sluyters, Johannes (Dutch, 1881-1957): 28
Munari, Bruno (Italian, b. 1907): 213, 214 Soler, Carlos (Argentinian, n.d.): 253 Designer unknown: 23, 72, 103, 131, 135, 177

262
 T R U S TEES
O F T H E MUSEUM
of Mod e r n Art
WilliamS. Paley Gordon Bunshaft John Rewald**
Chairman Emeritus Shirley C. Burden David Rockefeller, Jr.
Thomas S. Carroll* Richard E. Salomon
Mrs. John D. Rockefeller 3rd John B. Carter Mrs. WolfgangSchoenbom*
President Emeritus Marshall S. Cogan Mrs. Constantine Sidamon-Eristoff
David Rockefeller GianluigiGabetti Mrs. Bertram Smith
Chairman of the Board Miss Lillian Gish** Jerry I. Speyer
Paul Gottlieb Mrs. Alfred R. Stem
Mrs. Henry Ives Cobb Agnes Gund Mrs. Donald B. Straus
Vice Chairman Mrs. Melville Wakeman Hall Walter N. Thayer
Donald B. Marron George Heard Hamilton* R. L. B. Tobin
President Barbara Jakobson Monroe Wheeler*
Sidney Janis** Richard S. Zeisler
Mrs. Frank Y. Larkin Philip Johnson *Trustee Emeritus
VicePresident Ronald S. Lauder **Honorary Trustee
John Parkinson III John L. Loeb*
VicePresident and Treasurer Ranald H. Macdonald*
David H. McAlpin** Ex Officio
Dorothy C. Miller** Edward I. Koch
Frederick M. Alger III J. Irwin Miller* Mayor of the City of New York
Lily Auchincloss S. I. Newhouse, Jr. Harrison J. Goldin
Edward Larrabee Barnes Philip S. Niarchos Comptroller of the City of New York
Celeste G. Bartos Richard E. Oldenburg
Sid Richardson Bass Peter G. Peterson Joann K. Phillips
H.R.H. Prinz Franz von Bayem** Gifford Phillips President of The International Council

Committee on Architecture a d Design

Lily Auchincloss Emilio Ambasz Roblee McCarthy, Jr.

Chairman Armand P. Bartos Mrs. S. I. Newhouse, Jr.
Philip Johnson Marshall S. Cogan Donald Page
Honorary Chairman Leonard A. Lauder Joann K. Phillips
Manfred Ludewig Mrs. Willard B. Taylor
Edward Larrabee Barnes
Vice Chairman Mrs. Donald B. Marron Kenneth Walker

263
 "

'

- s. -
 TheMuseumof ModernArt

300074240

About the author:

Stuart Wrede is Director of the
Department of Architecture and
Design at The Museum of Modem
Art. He is the author of The Archi
tecture of Erik Gunnar Asplund
(MIT Press, 1980) and Mario Botta
(published by the Museum in 1987),
and has also translated the writings
of AlvarAalto.

On the cover:
Front: A. M. Cassandre. Grande
. Quinzaine Internationale de Lawn-
Tennis, 1932
Front Hap: Vladimir and Georgii
Stenberg. Symphony of a Great
' City. 1928
Back: Grapus. On Y Va. 1977
Back flap: Thomas Theodor Heine.
S implicissimus. 1897

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