Ein prächtiges Angebot an Originalen Plakaten sowie die grösste Auswahl an Lithographien und Gravuren Le Corbusiers – das ist PLACART. Unikate LCs können wir ebenfalls anbieten.
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Tomas Rabara | PLACART
Kunst! Kommerz! Werdpapier!
Ende des 19. Jahrhunderts in Paris aufgekommen, verführten Werbeplakate bald auch in der Schweiz die Passanten mit leuchtenden Farben und fesselnden Kompositionen – eine neue Form der Kunst war geboren.
Jedes bei uns erhältliche Plakat ist eines der raren Exemplare der jeweiligen Auflage, das bis heute überlebt hat. Der bei weitem grösste Teil der Blätter ging im Aushang verloren. (Abb.: Werdmühleplatz Zürich, 1913; Quelle: Baugeschichtliches Archiv Stadt Zürich)
Le Corbusier ist nicht zu fassen, ohne in ihm auch den Maler zu sehen – die Kunst der Moderne ist sein Fundament, ihr widmet er jahrzehntelang jeden Vormittag; seine Entwicklung als Architekt folgt jener, die er als Künstler durchmacht.
Bold typographic poster by Jacques Plancherel (1926–2011), created on the occasion of the exhibition 1957 at the Kunstmuseum Luzern on the essence of the profession of a graphic artist.
As a practitioner himself, Plancherel had the utmost interest in the exhibition (conceived by Gottfried Honegger-Lavater): As a – how could it be otherwise – a former student of Ernst Keller in Zurich, he was appointed in 1953 at the mere age of 27 to the then sleepy Lucerne School of Arts and Crafts to take over the management of the graphics department. There he found what a former student recalled as a monastery-like atmosphere in which every drawn stroke was a world event and gave rise to profound reflections on art.
Plancherel's focus was therefore not to teach design per se («There is no doubt that a graphics student can design; after all, he has talent» he used to say) than to educate students to be independent, sensitive to perceive changes in the spirit of the time and to create the conditions to survive in the free market economy.
Linocut (I think), printed 1957, A condition, ca. 128x90 cm – available in the gallery
Even though Herbert Leupin (1916–1999) is by many considered the most important Swiss poster artist after WW II (at least he won almost 90 times a Poster of the Year Award, granted by the Swiss state – the most of any poster designer – and the Medal Award of the Art Directors Club of Chicago in 1960), the humorous approach which began to replace his magic realism during the 40s seems somewhat staid to today's viewer.
However, there are some posters that continue to put a smile on one’s face, even 70 years after its creation: This giraffe, for example, created for Eptinger mineral water, saying: “Even for the largest thirst”. It’s simple, it’s still effective, and it’s very catchy – a blue background which in principle is more associated with water wouldn’t be by far as striking as this bold orange.
Lithograph, printed 1949 J. C. Müller in Zurich; one of his rarest posters and most sought after designs (received – of course – the Swiss Poster Award in 1949); rather an A than A- (was folded; restored corner), ca. 128x90 cm – available in the gallery.
The poster by Hermann Eidenbenz advertises an exhibition of the Basel section of the Swiss Werkbund 1938 at the Gewerbemuseum, using the so-called iris printing in which multiple colors are printed in a single pass, with the colors running seamless into each other. In this way, a multicolored poster could be realized in two printing passes only (black and color). This should – I guess – highlight the close linking and interdependence of graphic artists, architects, carpenters, photographers, fabricants, vendors, users…
The Swiss Werkbund was founded in 1913 in the tradition of a counter-movement originating in the 1890s in England to industrialization, through which a decline in crafts had become apparent. Loveless, industrial mass production was to be combated by (still industrially manufactured!) products of refined design that expressed uniqueness and inherent beauty – by resisting (excessive) decoration. And: The representatives were convinced that good craftsmanship consists of an apprenticeship that emphasizes artistic training (or, in short: even Le Corbusier or the Bauhaus did not come out of nowhere).
To finish: “Eidenbenz” is not always (just) Hermann as there were also two brothers, Willi and Reinhold, who founded in 1933 the Atelier Eidenbenz as one of the first advertising agencies in Basel that combined graphic design and photography. While Hermann and Willi worked as graphic designers and photographers, Reinhold primarily took over the commercial management of the studio (dissolved in 1972).
Lithograph, printed 1938 by Art. Institut Grafica in Basel, A condition, ca. 128x90 cm – available in the gallery.
Known today primarily as a painter and draftsman, the Neuchâtelois Jean-Pierre Schüpbach (1906-1992) earned his living as a graphic artist at Nestlé, where he designed chocolate boxes and posters for 45 years. Surprisingly (at least from today's perspective) Nestlé didn't care that he created and signed tourism, but also product posters for other clients as well – in this case for the Hôtel Bellevue in Glion, located on a cliff above Montreux. Even though it's a magnificent Belle Epoque building: The panoramic view over Lake Geneva is even more magnificent.
In 1962, the hotel became the @glionhospitalityschool, an institution specializing in hospitality and luxury management; as a tribute to the former Grand Hotel, the school calls its restaurant “The Bellevue”.
Lithograph, printed ca. 1950 by Säuberlin & Pfeiffer in Vevey, B condition, ca. 100x64 cm – exceedingly rare; available in the gallery
"I was wearing my two-piece bathing suit and he told me to take a bounce. I didn't mind, why should I; he put his camera on the ground, I jumped, done. He pulled the trigger only once, I jumped only once," recalled in 2006 the lady whom Geiger had photographed in 1938. The autodidact (1898–1987) then mounted his snapshot in a photograph of Lake Cauma, before the local tourism authority had the montage colored (probably by the printer, Kümmerly & Frey in Bern). The poster became so popular that several re-editions followed, giving the motif an iconic status over the decades.
This is an exemplar from the first print run around 1938, lithograph, 100 x 70 cm, currently at the restorer (water stains), on sale soon (sold).