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History of Graphic Design > Chapter 11 > Flashcards

Chapter 11 Flashcards

1
Q

ukiyo-e

A
  • “pictures of the floating world”
  • Defines an art movement of Japan’s Tokugawa period that blended the realistic narratives of emaki (traditional picture scrolls) with influences from decorative arts. The earliest works were screen painting depicting the entertainment districts called “the floating world”. Artists quickly embraced the woodblock print and collaborated with publishers, block cutters, and printers
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2
Q

Tokugawa period

A
  • 1603-1867
  • A time of economic expansion, internal stability, and flourishing cultural arts. During this period of national isolation and few external influences, Japanese art acquired a singular national character
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3
Q

shogun

A

A Japanese military governor whose power exceeds the emperor’s

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4
Q

emaki

A

Traditional Japanese picture scrolls

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5
Q

“the floating world”

A

Japan’s entertainment districts

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6
Q

Edo

A

Early name for what is now modern Tokyo

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7
Q

Surimono

A

Privately commissioned prints for special occasions

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8
Q

yellow-backs

A

cheap novelettes so named for the color of their covers

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9
Q

Mount Fuji

A

occupies a special places in Japanese culture; the ancient Japanese were sun worshippers, and this 3,776 meter (12,000 feet) volcano first catches the rising sun’s rays

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10
Q

Japonisme

A

late 19th century Western mania for all things Japanese

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11
Q

Art Nouveau

A

an international decorative style that thrived roughly during the 2 decades (c. 1890-1910) that girded the turn if the century. It encompassed all the design arts- architecture furniture and product design, fashion, and graphics- and consequently embraced posters, packages, and advertisements; teapots, dishes, and spoons; chair, door frames, and staircases; and factories, subway entrances, and houses. Art Nouveau’s identifying visual quality is an organic, plantlike line. Vine tendrils, flowers (such as the rose and lily), birds (particularly peacocks), and the human female form were frequent motifs from which this fluid line was adapted

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12
Q

Historicism

A

The deliberate use or revival of historical styles in contemporary work

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13
Q

Anachronistic

A

Something that is out of its proper chronological or historical order, or may belong to an earlier time

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14
Q

French symbolist movement

A

A movement in literature of the 1880s and 1890s that led a rejection of realism in favor of the metaphysical and sensuous. It was an important influence in the art nouveau movement and led artists to symbolic and philosophic attitudes

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15
Q

afficheurs

A

poster hangers, whose industry benefited from an 1881 French law that lifted many censorship restrictions and allowed posters to be hung anywhere except on churches, at polls, or in area designated for official notices

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16
Q

Cherettes

A

Beautiful women that adorned money of the posters of Jules Cheret, who introduced a new role model for women in the late Victorian era. Neither prudes nor prostitutes, these self-assured, happy women enjoyed life to the fullest, wearing low-cut dresses, dancing, drinking win, and even smoking in public

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17
Q

Jules Cheret Museum

A

Opened in Nice to preserve the work of Jules Cheret

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18
Q

“color-book style”

A

Eugene Grasset’s style of thick black contour drawing locking forms into flat areas of color in a manner similar to medieval stained glass windows

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19
Q

The Studio

A

The first of nearly a dozen new 1890s European art periodicals. The April issue reproduced the work of Aubrey Breadsley and helped to launch his career. Early issues also included work by Walter Crane and Jan Toorop

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20
Q

“the black spot”

A

the name given to Aubrey Breadslay’s compositions on a dominant black form

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21
Q

The Yellow Book

A

Aubrey Breadsley was named art editor for this magazine whose bright yellow cover on London newsstands became a symbol for the new and outrageous

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22
Q

Rodolphe Salis’s Le Chat Noir

A

A gathering place for artists and writers that opened in 1881. There, Grassest met and shared his enthusiasm for color printing with younger artists: Georges Auriol, Henri de Toulouse-Lautrec, and fellow Swiss artist Theophile-Alexandre Steinlen

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23
Q

la belle epoque

A
  • “the beautiful era”
  • a term used to describe glittering late 19th century Paris
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24
Q

le style moderne

A

The early name for the new art style emerging in France during the late 1800s. the movement didn’t get its recognizable name - art nouveau- until December 1895. That was when Samuel Bing, a longtime dealer in Far Eastern art and artifacts, which fostering the growing awareness of Japanese work, opened his new gallery, Salon de l’art Nouveau, to exhibit arts and crafts by young artists working in new directions

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25
Q

le style Mucha

A

a term that was often used interchangeably with l’art Nouveau, showing that by 1900, Alphonse Mucha’s work had become pervasive in the development of art nouveau’s graphic motif

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26
Q

l’art nouveau

A

a term used for the French art nouveau movement

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27
Q

Jugendstil

A

the term used for the new art movement in Germany, named after the magazine jugend (Youth)

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28
Q

Sezessionstil

A

the term used for the new art movement in Austria, named after the Vienna Secession

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29
Q

Stile floreal or Stile Liberty

A

the term used for the new art movement in Italy, named after textiles and furnishings from the London department store located there

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30
Q

Modernismo

A

the term for the new art movement in Spain

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31
Q

Nieuwe Kunst

A

the term used for the new art movement in the Netherlands. Through this movement, many young Dutch artists sought new vistas with energy and enthusiasm, encouraged by fresh, optimistic, and progressive ideals. They brought about an important artistic revival in the Netherlands that provided the seeds for future movements, such as De Stijl, art deco, and what is now known as the Wendingen style. the book was one of the principal expressive mediums of this movement. Some special qualities of the movement’s book design are unpredictability, eccentricity, openness, and innovation, as well as a love for order and geometry balanced by a penchant for the primitive and independence from accepted norms

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32
Q

Archetypal

A

an ideal example of a certain type

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33
Q

Combinaisons Ornementales

A
  • “Ornamental Combinations”
  • A pattern book produced by Alphonse Mucha in collaboration with Maurive Verneuil and George Auriol, which helped to spread the art nouveau style
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34
Q

GE (General Electric)

A

Trademark of art nouveau origin that has been in continuous use since the 1890s

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35
Q

Harper’s Magazine

A

American magazines that commissioned covers from Eugene Grasset and spread the art nouveau style throughout America

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36
Q

Bradley: His Book

A

an art and literary periodical produced by Will Bradley that began in 1896

37
Q

Chapbooks

A

small, crudely, printed books from colonial New England named after the traveling peddlers known as chapmen who sold them. The vigor of these works, with their Caslon types, wide letter spacing, mix of roman, italic, and all-capital type, sturdy woodcuts, and plain rules, inspired the beginnings of a new direction in graphic arts that became known as the chapbook style

38
Q

Chapbook style

A

a new direction in graphic arts that was inspired by the chapbooks of colonial New England

39
Q

The American Chap-Book

A

series of twelve little books in the chapbook style designed and written by Will Bradley for the American Type Founders

40
Q

Cercle des XX

A
  • “Group of Twenty”
  • A group that formed during the 1880s in Belgium to show progressive art ignored by the salon establishment, including paintings by Gauguin 1889 and Van Gogh in 1890
41
Q

Driehoeken bij ontwerpen ven ornament

A
  • “Triangles in the Design of Ornament”
  • Book by J. H. de Groot and Jacob M. de Groot that promoted the interest in natural and mathematical forms adapted to stylized decoration. Providing artists with vivid instructions for the construction of abstract forms based on nature, it demonstrated in 50 plates accompanied by descriptive texts that almost any imaginable figure could be created from variations of 30- and 45- degree triangles
42
Q

theosophy

A

philosophy in which geometry is seen as an ordering principal of the cosmos

43
Q

batik

A

a method of dying fabric. The parts of the fabric not intended to be dyed are covered with removable wax

44
Q

Klingspor Foundry

A

The first German type foundry to commission new fonts from artists, in 1900 it released Eckmann’s Eckmannschrift, which created a sensation and thrust this small regional foundry into international prominence

45
Q

Eckmannschrift

A

type designed by Otto Eckmann, drawn with a brush instead of a pen, which was a conscious attempt to revitalize typography by combining characteristics from both medieval and roman types. First released by the Klingspor Foundry in 1900

46
Q

Hishikawa Moronobu

A
  • 1618-94
  • Widely respected as the first master of the ukiyo-e print, he was a book illustrator who used Chinese woodcut techniques and reached a large audience. In addition to actors and courtesans, his work presented the everyday lives of ordinary people
47
Q

Okumura Masanobu

A
  • 1686-1764
  • among the first artists to move from hand-coloring single-color woodcuts to two-color printing.
48
Q

Suzuki Harunobu

A
  • c.1725-70
  • introduced full-color prints from numerous blocks, each printed in a different color, in 1765.
49
Q

Kitagawa Utamaro

A
  • c.1753-1806
  • An unrivaled artist in portraying beautiful women, he has been called the supreme poet of the Japanese print. His loving observations of nature and human expression resulted in prints of insects, birds, flowers, and women possessing great beauty and tenderness. His images of Edo’s most renowned beauties were identified by name. Rather than repeating stereotypes of conventional beauty, he conveyed his subjects’ feelings, based on careful observation of their physical expressions, gestures, and emotional states. His warm yellow and tan backgrounds emphasized delicate, lighter-toned skin
50
Q

Katsushika Hokusai

A
  • 1760-1849
  • the most renowned and prolific ukiyo-e artist who produced an estimated 35,000 works during seven decades of ceaseless artistic creation. His work spanned the gamut of ukiyo-e subjects: album prints; genre scenes; historical events; illustrations for novels; landscape series including views of rivers, mountains, waterfalls, and bridges; nature studies of flowers, birds, shells, and fish; paintings on silk; sketchbooks; and privately commissioned prints for special occasions, called surimono. He began his career illustrating yellowbacks. He was in his seventies when he designed the series Thirty-Six Views of Mount Fuji
51
Q

Ando Hiroshige

A
  • 1797-1858
  • the last great master of the Japanese woodcut. A rival of Hokusai, he inspired the European impressionists with his brilliant spatial composition and ability to capture the transient moments of the landscape. In the series Fifty-Three Stages of the Tokaido, he illustrated the fifty-three way stations along the Eastern Sea Road from Edo to Kyoto, capturing subtle nuances of light, atmosphere, and season. He not only observed and captured the poetic splendor of nature but related it to the lives of ordinary people as well
52
Q

Mathew C. Perry

A

American commodore whose naval expeditions to Japan, beginning in 1853, led to the collapse of Japan’s traditional isolationist policies and opened trade with the West.

53
Q

Samuel Bing

A
  • 1838-1905
  • In 1895 he opened a gallery in Paris called the Salon de l’Art Nouveau, from which the term art nouveau In addition to Japanese art, “new art” by European and American artists was displayed and sold there. This gallery became an international meeting place at which many young artists were introduced.
54
Q

Baron Victor Horta

A
  • 1861-1947
  • a Belgian architect who became the seminal genius of the art nouveau movement. His 1892 townhouse for Emile Tassel was unified by tendrilous, curvilinear networks unlike anything yet seen in England or on the Continent.
55
Q

Jules Cheret

A
  • 1836-1933
  • Acclaimed as the father of the modern poster, he was convinced that pictorial lithographic posters would replace the typographic letterpress posters that filled the urban environment. At the age of twenty-two he produced a blue and brown poster for Offenbach’s operettaOrphée aux Enfers (Orpheus in the Underworld) in Paris, but then returned to London, where he soon mastered the more advanced English color lithography. The first poster from his printing firm, financed by Eugene Rimmel, was a monochromatic design for the theatrical production La biche au bois (The Doe in the Woods), starring the twenty-two-year-old Sarah Bernhardt. During the 1870s, he evolved away from Victorian complexity, simplifying his designs and increasing the scale of his major figures and lettering. His artistic influences included the idealized beauty and carefree lifestyle painted by Antoine Watteau and Jean-Honoré Fragonard, the luminous color of Turner, and the winding movement of Giovanni Batista Tiepolo, whose figures expressed energy and movement through twisting torsos and extended limbs. During the 1880s, he used a black line with the primary colors (red, yellow, and blue). The beautiful young women he created, dubbed “Chérettes” by an admiring public, were archetypes—not only for the idealized presentation of women in mass media but for a generation of French women who used their dress and apparent lifestyle as inspiration as they became the new role models
56
Q

Eugene Grasset

A
  • 1841-1917
  • Swiss-born illustrator/designer who was first to rival Jules Chéret in public popularity. He had studied medieval art intensely, and this influence, mingled with a love of exotic oriental art, was reflected strongly in his designs for furniture, stained glass, textiles, and books. His 1883 publication of Histoire des quatre fils Aymon (Tales of the Four Sons of Aymon) was a bellwether achievement, both in graphic design and printing technology. His design is important for its total integration of illustrations, format, and typography. His design ideas were rapidly assimilated after publication, including the decorative borders framing the contents, the integration of illustration and text into a unit, and the design of illustrations so that typography was printed over skies and other areas. Spatial segmentation was used as an expressive component in page layouts. His “coloring-book style” of thick black contour drawing locking forms into flat areas of color was in a manner similar to medieval stained glass windows
57
Q

Eugene Rimmel

A

a philanthropist and perfume manufacturer who became a friend and patron of Jules Chéret. In 1866 Rimmel financed a state-of-the-art printing firm in Paris for Chéret.

58
Q

Charles Gillot

A

a collaborator with Eugène Grasset on Histoire des quatre fils Aymon (Tales of the Four Sons of Aymon). It was printed in an aquatint-grain/color-photo relief process from plates made by Charles Gillot, who transformed Grasset’s line-and-watercolor designs into subtle, full-color printed book illustrations.

59
Q

Aubrey Beardsley

A
  • 1872-98
  • The enfant terribleof art nouveau, he made use of a striking pen line, vibrant black-and-white work, and shockingly exotic imagery. A strange cult figure, he was intensely prolific for only five years and died of tuberculosis at age twenty-six. He became famous at age twenty, when his illustrations for a new edition of Malory’s Morte d’Arthur (Figs. 11–15 through 11–17) began to appear in monthly installments, augmenting a strong Kelmscott influence with strange and imaginative distortions of the human figure and powerful black shapes. “The black spot” was the name given to compositions based on a dominant black form. He was named art editor for The Yellow Book, a magazine whose bright yellow cover on London newsstands became a symbol for the new and outrageous. During the last two years of his life, Beardsley was an invalid. When he could work, the flat patterns and dynamic curves of art nouveau yielded to a more naturalistic tonal quality, and dotted contours softened the decisive line of his earlier work.
60
Q

Walter Crane

A
  • 1845-1915
  • an early innovator in the application of Japanese ornamental patterns and Eastern interpretations of nature to the design of surface pattern. His work was included in early issues of The Studio.
61
Q

Charles Ricketts

A
  • 1863-1937
  • Beardsley’s leading rival among English graphic designers working in the wake of the Arts and Crafts movement and on the crest of art nouveau. Ricketts began as a wood engraver and received training as a compositor; therefore, his work was based on a thorough understanding of print production. He approached the book as a total entity, focusing on a harmony of the parts: binding, end sheets, title page, typography, ornaments, and illustrations (which were frequently commissioned from lifelong collaborator and close friend Charles Shannon). His page layouts are lighter, his ornaments and bindings more open and geometric (Figs. 11–20 through 11–22), and his designs have a more vivid luminosity than the Kelmscott style.
62
Q

Georges Auriol

A
  • 1863-1939
  • A collaborator with Alphonse Mucha, he designed furniture, carpets, stained glass windows, and manufactured objects. Hispattern books, including Combinaisons ornementales (Ornamental Combinations) (Fig. 11–36), helped spread art nouveau.
63
Q

Henri de Toulouse-Lautrec

A
  • 1864-1901
  • Primarily a printmaker, draftsman, and painter, Toulouse-Lautrec produced only thirty-one posters (Figs. 11–23 through 11–27) (the commissions for which were negotiated in the cabarets in the evenings) and a modest number of music- and book-jacket designs. Drawing directly on the lithographic stone, he often worked from memory with no sketches and used an old toothbrush that he always carried to achieve tonal effects through a splatter technique. He used simplified symbolic shapes and dynamic spatial relationships to form expressive and communicative images.
64
Q

Theophile-Alexandra Steinlen

A
  • 1859-1923
  • A prolific illustrator during the 1880s and 1890s, his radical political views, socialist affiliations, and anticlerical stance led him toward asocial realism, depicting poverty, exploitation, and the working class. His vast oeuvre included over two thousand magazine covers and interior illustrations, nearly two hundred sheet-music covers, over one hundred book illustration assignments, and three dozen large posters. A friend and sometime rival of Toulouse-Lautrec
65
Q

Alphonse Mucha

A
  • 1860-1939
  • From 1895 until 1900, art nouveau found its most comprehensive statement in Mucha’s work. His dominant theme was a central female figure surrounded by stylized forms derived from plants and flowers, Moravian folk art, Byzantine mosaics, and even magic and the occult. So pervasive was his work that by 1900, le style Mucha was often used interchangeably with l’art nouveau. His stylized hair patterns (Figs. 11–32 through 11–35)became a hallmark of the era in spite of detractors, who dismissed this aspect of his work as “noodles and spaghetti.” In addition to graphics, Mucha designed furniture, carpets, stained glass windows, and manufactured objects.
66
Q

Sarah Bernhardt

A
  • 1844-1923
  • the most popular actress of the late 1800s, and subject of many posters by Alphonse Mucha, Jules Chéret, Emmanuel Orazi, and Eugène Grasset.
67
Q

Emmanuel Orazi

A
  • 1860-1934
  • came to prominence as a poster designer in 1884, when he designed a poster for Sarah Bernhardt; it was not until his static style yielded to the influences of Eugène Grasset and Alphonse Mucha a decade later that he produced his best work.
68
Q

Louis Rhead

A
  • 1857-1926
  • British born, he moved to America in 1883, where he became one of the two major American practitioners of art nouveau–inspired graphic design and illustration. While Rhead embraced Eugène Grasset’s willowy maidens, contour lines, and flat color, he rejected his pale colors in favor of vibrantly unexpected combinations, such as red contour lines on bright blue hair before an intense green sky. Rhead’s eclectic style sometimes mixed a profusion of influences. Decorative embellishments from Victorian designs, forms inspired by the Arts and Crafts movement, and curving, abstract linear patterns were sometimes combined in his designs.
69
Q

William H. Bradley

A
  • 1868-1962
  • Trained as a newspaper apprentice, engraver, and type designer, he also taught himself about art and design through magazines and library books.By 1890 his Arts and Crafts–inspired pen-and-ink illustrations were bringing regular commissions. He was influenced by Aubrey Beardsley’s flat shapes and stylized contour. Beginning in 1894, Bradley’s work for the Inland Printer and the Chap Book(Figs. 11–41 through 11–43) ignited art nouveau in America. He made innovative use of photomechanical techniques to produce repeated, overlapping, and reversed images. Bradley was inventive in his approach to typographic design and flouted all the prevailing rules and conventions. Type became a design element to be squeezed into a narrow column or letter spaced so that lines of many and few letters all became the same length and formed a rectangle.
70
Q

Ethel Reed

A
  • b.1876
  • the first American woman to achieve national prominence as a graphic designer and illustrator (Fig. 11–48). Born and raised in Massachusetts, she became well known as a book illustrator and poster designer at age eighteen. For four brief years (1894–98) she created posters and illustrations for Boston publishers Copeland & Day, and Lamson, Wolffe and Company. Reed’s career ended abruptly after she traveled to England and produced her last poster in London in 1898. Her disappearance from the historical record at age twenty-two remains a mystery.
71
Q

Edward Penfield

A
  • 1866-1925
  • An art director for Harper and Brothers publications from 1891 until 1901, his monthly series of posters for Harper’s magazine from 1893 until 1898 were directed toward the affluent members of society, frequently depicting them reading or carrying an issue of the magazine. In 1894, Penfield evolved toward his mature style of contour drawing with flat planes of color. By eliminating the background, he forced the viewer to focus on the figure and lettering. Penfield drew with a vigorous, fluid line, and his flat color planes were often supplemented by a masterly stipple technique
72
Q

William Carqueville

A
  • 1871-1946
  • created posters similar to Penfield’s Harper’swork for Lippincott’s magazine (Fig. 11–52), including one for the July 1895 issue featuring a girl dropping her Lippincott’s after a young boy startles her with a firecracker.
73
Q

Maxfield Parrish

A
  • 1870-1966
  • expressed a romantic and idealized view of the world (Fig. 11–53) in book, magazine, and advertising illustrations during the first three decades of the twentieth century, before turning to painting landscapes for reproduction.
74
Q

Henri Clemens van de Velde

A
  • 1863-1957
  • Interiors, book design, bookbinding, jewelry, and metalwork were his major activities. In 1892 he wrote an important essay, “Déblaiement d’art,” calling for a new art that would be contemporary in concept and form but possess the vitality and ethical integrity of the great decorative and applied arts of the past. In book design he broke creative ground, drawing dynamic linear forms that embrace their surrounding space and the intervals between them. His work evolved from forms inspired by symbols and plant motifs to rhythmic linear patterns
75
Q

Privet Livemont

A
  • 1861-1936
  • A native of Belgium, this teacher and painter produced nearly three dozen posters strongly inspired by Mucha’s idealized women, their tendrilous hair, and their lavish ornament. His major innovation was a double contour separating the figure from the background. A dark contour was outlined by a thick white band, which increased the image’s impact when posted on billboards
76
Q

Gisbert Combaz

A
  • 1869-1941
  • An artist and art historian specializing in the Far East, he was a leading member of La Libre Esthétique, the organization that evolved from the Cercle des XX in 1893. His many exhibition posters for this group feature intense color and pushed the art nouveau arabesque into an almost mechanical, tense line
77
Q

Chris Lebeau

A

produced some of the most striking and complex designs in batik and was successful in assimilating traditional patterns and colors of the East Indies into his own work. He was commissioned to design the binding for De stille kracht(The Quiet Power) by the publisher Lambertus Jacobus Veen, the most heavily East Indian of all the novels by The Hague writer Louis Couperus

78
Q

Jan Toorop

A
  • 1858-1928
  • born on the Dutch East Indies island of Java, and drew on Javanese culture as a natural source of his inspiration. His use of the silhouette, his linear style, and the forms, expressions, and hairstyles of his female figures are derived from Javanese wajanshadow puppets. This Javanese influence is clear in his 1895 poster for Delftsche Slaolie (Delft Salad Oil). His 1898 binding for Psyche shows his skill in combining text with illustration. The design is filled with his “whiplash” lines, and the lettering, especially on the spine, blends in with the illustration
79
Q

H. de Roos

A

Dutch Nieuwe Kunst graphic designer whose decorative ornaments are derived predominantly from geometry. His 1902 book cover design for De vrouwen kwestie, haar historische ontwikkeling en haar economische kant(The Woman Question, Her Historical Development and Her Economical Side), by Lily Braun, is an outstanding example of his work

80
Q

Hans Christiansen

A
  • 1866-1945
  • A leading artist associated with Jugend, his simple, sans-serif letterforms are drawn in constrained, pale colors on the October 1899 cover. The stylized curves of the letterforms echo the curves of the illustration’s flat shapes and the necks of the swans
81
Q

Peter Behrens

A
  • 1868-1940
    -His abstract designs were inspired by ancient Egyptian artifacts and stylized floral designs. He also became widely known for large, multicolored woodblock prints inspired by French art nouveau and the Japanese print. In addition to his work for Jugend, he experimented with ornaments and vignettes of abstract design in two other publications, Der Bunte Vogeland Die Insel.He became artistic advisor toDie Inseland its publisher, Insel-Verlag, for which he designed one of the finest Jugendstil trademarks
82
Q

Otto Eckmann

A
  • 1865-1902
  • In addition to five cover illustrations and numerous decorative borders for Jugend, he designed jewelry, objects, furniture, women’s fashions, and an important typeface called Eckmannschrift. He became a designer and consultant for the Allgemeine Elektrizitäts-Gesellschaft (General Electric Company), or AEG, and explored the application of Jugendstil ornament to the graphic and product needs of industry
83
Q

Adolfo Hohenstein

A
  • 1854-1928
  • Although German born, he is seen as the father of poster design in Italy
84
Q

Leopoldo Metilcovitz

A
  • 1868-1944
  • Considered to be among the best poster artists in Italy at the turn of the twentieth century, he worked under Adolfo Hohenstein at the Milan firm Giulio Ricordi. His classic 1913 Calzaturificio di Varese poster exudes an optimistic elegance.
85
Q

Giovanni Mataloni

A
  • 1869-1944
  • Considered to be among the best poster artists in Italy at the turn of the twentieth century, he worked under Adolfo Hohenstein at the Milan firm Giulio Ricordi
86
Q

Marcello Dudovich

A
  • 1878-1962
  • an eclectic designer who eventually arrived at a unique colorful style. Like Ludwig Hohlwein in Germany, he preferred elegant subjects presented in flat areas of color. He was a popular designer for the fashionable Mele department store in Naples, Italy, which commissioned over 120 posters from the Milan firm Giulio Ricordi
87
Q

Franz Lazkoff

A
  • 1869-1918
  • a Polish-born poster artist who, along with Marcello Dudovich, was a popular designer for the fashionable Mele department store in Naples, Italy, an important client of the Milan firm Giulio Ricordi
88
Q

Leonetto Capiello

A
  • 1875-1942
  • a poster artist who, along with Marcello Dudovich, was a popular designer for the fashionable Mele department store in Naples, Italy, an important client of the Milan firm Giulio Ricordi

History of Graphic Design (24 decks)

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