1. Zurich Tonhalle. musica viva. Concert poster, 1957
2. Zurich Tonhalle. musica viva. Concert poster, 1957
3. Zurich Tonhalle. musica viva. Concert poster, 1958
4. Zurich Tonhalle. musica viva. Concert poster, 1958
5. Zurich Tonhalle. musica viva. Concert poster, 1958
6. Zurich Tonhalle. musica viva. Concert poster, 1959
7. Zurich Tonhalle. musica viva. Concert poster, 1959
8. Zurich Tonhalle. musica viva. Concert poster, 1961
9. Zurich Tonhalle. musica viva. Concert poster, 1969
10. Zurich Tonhalle. musica viva. Concert poster, 1971
11. Zurich Tonhalle. Concert poster, 1958
12. Zurich Tonhalle. June Festival. Concert poster, 1951
13. Zurich Tonhalle. June Festival. Concert poster, 1951
14. Zurich Tonhalle. June Festival. Concert poster, 1959
His posters for the Tonhalle reveal an artist at work, as well as one who fathoms the world of communication, with a particular audience for a particular function. His posters are comfortable in the worlds of art and music. They do not try to imitate musical notation, but they evoke the very sounds of music by visual equivalents - not a simple task. - Excerpt from the Paul Rand's foreword for the book: "Joseph Müller-Brockmann, Pioneer of Swiss Graphic Design" -
Scans source: Joseph Müller-Brockmann, Pioneer of Swiss Graphic Design (Edited by Lars Müller) - Lars Müller Publishers, 1995.
ReplyDeleteJosef Müller-Brockmann (1914 - 1996)
Müller-Brockmann’s importance as a designer should not just be considered in a historical context. His posters are world famous for their visual tension and communicative power achieved with reduced resources. They enshrine timeless rules of visual communication.
Müller-Brockmann, the leading light of «Swiss Graphics» in the 50s and 60s, shows in his work that the demand for graphics that are neutral, functional and objective by no means inhibits the designer’s scope. It makes the designer keep his eye on the purpose of his work: communicating and being understood. - Lars Müller