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Gebrauchsgraphik
- Bandzählung
- 7.1930,12
- Erscheinungsdatum
- 1930
- Sprache
- German
- Signatur
- Z. 4. 4790-7.1930,7/12
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Urheberrechtsschutz 1.0
- Nutzungshinweis
- Gebrauchs- und Reklamegrafik 1.0
- URN
- urn:nbn:de:bsz:14-db-id397892187-193001208
- PURL
- http://digital.slub-dresden.de/id397892187-19300120
- OAI-Identifier
- oai:de:slub-dresden:db:id-397892187-19300120
- Sammlungen
- Kunst
- Zeitgenössische Kunst
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Titel
- Die künstlerischen u. kulturellen Werte einer Plakatsammlung
- Autor
- Sachs, Hans
- Übersetzer
- Talbot Scheffauer, Ethel
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Artikel
- Parlamentsperiode
- -
- Wahlperiode
- -
- Titel
- Bazar Nürnberg, Wintersportausrüstung Berlin u.a. Plakate
- Dargestellte Person
- Emil Kadzik <Berlin>
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Abbildung
- Parlamentsperiode
- -
- Wahlperiode
- -
Inhaltsverzeichnis
- ZeitschriftGebrauchsgraphik
- BandBand 7.1930,12 -
- DeckelDeckel -
- ZeitschriftenteilGewerbliche Anzeigen I -
- InhaltsverzeichnisInhaltsverzeichnis -
- WerbungSkeptiker? / Papierklebungen mit Sichel / Werbegraphik -
- WerbungTerne Buchdruck-Schnelläufer -
- DeckelDeckel -
- ArtikelProf. Otto Arpke 2
- ArtikelEdgar Miller, Chicago 16
- ArtikelGrundsätzliches "zur neuen Photographie" 20
- ArtikelPhotostudien von Stefan Schwarz 26
- ArtikelErnst Kretschmann 30
- ArtikelDie künstlerischen u. kulturellen Werte einer Plakatsammlung 38
- AbbildungDie alte Stadt 38
- AbbildungBerliner Gewerbe-Ausstellung / Singen im Wintergarten 39
- AbbildungBZ am Mittag erscheint heute mittag u.a. Plakate 40
- AbbildungJeden Mittwoch u. Samstag grosse Redoute u.a. Plakate 42
- AbbildungTäglich Die elf Scharfrichter / Cigaretten Laferme / ... 43
- AbbildungDie 6 / Stiller / Condé wäscht und plättet tip-top! 44
- AbbildungLena Amsel / 16 Teckel - eine Teckellade im Palast am Zoo 45
- Abbildung"5 Uhr Tee" / Bier-Cabaret Passage / Bleichert Drahtseilbahnen 46
- AbbildungBazar Nürnberg, Wintersportausrüstung Berlin u.a. Plakate 47
- AbbildungKitty Starling - the London Darling u.a. Plakate 48
- AbbildungGrand Café Imperial 49
- ArtikelRoger-Louis Dupuy: Fromenti 50
- ArtikelPrimaner kritisieren und entwerfen Plakate 60
- WerbungBeton - der neue Baustoff - Beton - die neue Schrift / Futura -
- WerbungGute Schriften - Gute Drucke - Besseres Geschäft u. Ansehen -
- ZeitschriftenteilBDG-Mitteilungen 65
- ZeitschriftenteilWirtschaft und Werbung 74
- ArtikelMitteilungen: Reichsverband deutsche Reklamemesse e.V. 77
- ArtikelBesprechungen 79
- PersonenregisterPersonenregister 82
- ZeitschriftenteilGewerbliche Anzeigen II -
- WerbungSchönheit ist kostbar -
- WerbungDreifarbentiefdruck - das Druckverfahren für Anspruchsvolle -
- DeckelDeckel -
- BandBand 7.1930,12 -
- Titel
- Gebrauchsgraphik
- Autor
- Links
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Fulltext page (XML)
Abb. 25 Louis Oppenheim 1918 Angelo Jank, Adolf Münzer and their followers may claim to be the real classic protagonists of German poster art. It is certainly a proof of the extraordinary effectiveness of Thomas Theo. Heine’s designs that, for instance, his poster for the Berlin Secession, showing Milady Art kissing the Berlin Bear—has been continu« ally in use for the past thirty years. To Heine we even owe the first political poster ever produced in Germany (Fig. 15). The wonder is that the police allowed this most provocative picture of a bleeding workman’s hand which had fallen victim to a policeman’s sabre during a street riot, to be pasted up on all the advertis« ing pillars. When the Kaiser one day thought fit to dub all modern art with the title “Gutter art”, Heine’s keen satirical mind at once invented a fitting illustration of the saying: A refined young lady is seen holding a bouqet of withered flowers in a Container usually dis« played only in bedrooms, whereas a young girl of the people is plucking fresh blossoms which are springing up in the gutter. Munich set the fashion. Rehm’s poster for a cigarette factory (Fig. 14) which originated in a monster compe« tition and aroused much attention, also came from Munich. Berlin took up the new movement in a very differ« ent fashion. Edmund Edel, famous for his parody of the poster with the fist and the hammer, and furth ered by the large«handedness of the Ullstein Publishing Co., had set the fashion with his rough«and«ready humor. (Fig. 16). Here such a talent as that of the Viennese artist Julius Klinger (Fig. 20) with his keen, incisive wit could develop side by side with the fine and delicate artistry of Paul Scheurich. (Fig. 31). Munich and Berlin became the centres of the new movement. The artists of the two cities, however, were worlds apart. For many years the character of the Munich posters was determined by the ornamental craftsmanship and the cosy picturesque« ness and luscious humor of the city of good beer. There was another determin« ing feature. The influence of Catholicism was overwhelmingly strong in the Munich population and its views of life colored even the most superficial manifestations of life in this city and does so to this day, in spite of the Carnival and the artists’ quarter. Whereever the Catholic church with its almost invisible methods of in« fluencing the people, its costly state, its pompous dignity can exercise so much authority over the masses as in this typi« cal town of petty citizens, art is apt to BAZAR NÜRNBERG Ausrüstung BERUN»FraniöjisAesfcll Abb. 26 Karl Kunst 1912 Abb. 27 Franz Paul Glass 1914 47
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