Swiss Graphic Design Histories

Swiss Graphic Design Histories

Legislation Apprenticeship Training Regulation Ornament Graphic Teaching Print Education Typography Team Organization Studio Swiss Design Awards Swiss Federal Office of Culture Design Promotion Catalogue Legislation Apprenticeship Training Regulation Ornament Graphic Teaching Print Education Typography Team

Organization Legislation Apprenticeship Training Regulation Ornament Graphic Teaching Print Education Typography Team Organization Studio Swiss Design Awards Swiss Federal Office of Culture Design Promotion Catalogue Legislation Apprenticeship Training Regulation Ornament Graphic Teaching Print Education Typography

Team Teaching Print Education Typography Team Education Typography Team Organization Studio Swiss Design Awards Swiss Federal Office of Culture Design Promotion Catalogue Legislation Apprenticeship Training Regulation Education Typography Team Organization Studio Swiss Design Awards Swiss Federal Office of Culture

Regulation Ornament Graphic Teaching Print Education Typography Team Organization Design Promotion Catalogue Legislation Apprenticeship Training Regulation Typography Team Organization Studio Swiss Design Awards Swiss Federal Office of Culture Design Promotion Catalogue Legislation Apprenticeship Training Regulation Apprenticeship

Training Regulation Ornament Graphic Teaching Print Education Typography Team Organization Studio Swiss Design Awards Swiss Federal Office of Culture Design Promotion Catalogue Legislation Apprenticeship Training Regulation Ornament Graphic Teaching Print Education Typography Team Organization Legislation

57

legislation

training

regulation

1930–1948

58

awards

Diversity

career

practice

catalogue

tood by its audience. This essay concentrates in particular on the way this visual awards/ discourse was used by the career/ SFOC to implement the practice/ strategic vision of the 2002 catalogue reorganisation.

Catalogues are peculiar Author publications. On the one hand, they are “‘orthopedic’ In 2002, the Swiss Design devices for memory” {FalAwards (SDA) were relaunguieres:1996vh p5} that are ched after an extensive routinely used as sources of reorganization process that knowledge on exhibitions was one of the most radical {JoyeuxPrunel:2015wv p81changes since the awards’ 84}. They are presented and foundation in 1917. Officially, used as archival devices; yet the Swiss Federal Office of as Derrida argued, the archiCulture (SFOC) inaugurated ve is already a production as a new format for the compe- much as the record of an tition to reflect changes in event {Anonymous:1995bs designers’ practices and p17}. Furthermore, most provide them with better exhibition catalogues are support {Anonymmade before the show they ous:1999un, Anonymare documenting has opeous:2002vz, Coen:2003ur}. ned and, therefore, cannot But the relaunch was also tell us what took place {Baused to strengthen the rok:2018vp p48}. Far from position of the SFOC and neutral, catalogues are reposition it at the centre of “multi-layered documents in the Swiss design scene. The which factual information is changes were introduced at embroidered with ideologithe occasion of the yearly ex- cal or situated views” {Joyhibition of the awardees’ euxPrunel:2015wv p84}. In work, which took place that 2002, these views were year at the Museum für especially strong. The SDA Gestaltung in Zurich. The catalogue aimed to create a relaunch was communicated layer of reflection on the not only through press retheme of the exhibition – leases and speeches but networks – and provided a also on a visual level. While nuanced and playful disprevious exhibitions offered course which created a minimal context or discourse visual meta-narrative that {Jaunin:2001uf}, in 2002 an benefitted both the awarunprecedented level of dees and the SDA. attention given to the curaIn 1989, the SFOC published tion, set design and the the first SDA catalogue (Fig. accompanying catalogue.

1). This publication and the Because it was addressed subsequent annuals until primarily to designers, the 2000 did not project any specatalogue made extensive cific editorial direction and use of visual discourses that were similar to publications would have been undersby other design competiti-

ons and exhibitions in the 1990s and early 2000s (Fig. 2). They listed the year’s winners and showed a selection of images of their work sometimes accompanied by a brief description and a short curriculum vitae. Besides short introductory texts, there was no written discourse such as essays or interviews. Production, design and editorial means remained limited, and the work was supposed to speak for itself. The catalogues intended to be a simple commemorative record rather than a place for discourse or critique.

57

legislation

training

regulation

1930–1948

58

awards

Diversity

career

practice

catalogue

tood by its audience. This essay concentrates in particular on the way this visual awards/ discourse was used by the career/ SFOC to implement the practice/ strategic vision of the 2002 catalogue reorganisation.

Catalogues are peculiar Author publications. On the one hand, they are “‘orthopedic’ In 2002, the Swiss Design devices for memory” {FalAwards (SDA) were relaunguieres:1996vh p5} that are ched after an extensive routinely used as sources of reorganization process that knowledge on exhibitions was one of the most radical {JoyeuxPrunel:2015wv p81changes since the awards’ 84}. They are presented and foundation in 1917. Officially, used as archival devices; yet the Swiss Federal Office of as Derrida argued, the archiCulture (SFOC) inaugurated ve is already a production as a new format for the compe- much as the record of an tition to reflect changes in event {Anonymous:1995bs designers’ practices and p17}. Furthermore, most provide them with better exhibition catalogues are support {Anonymmade before the show they ous:1999un, Anonymare documenting has opeous:2002vz, Coen:2003ur}. ned and, therefore, cannot But the relaunch was also tell us what took place {Baused to strengthen the rok:2018vp p48}. Far from position of the SFOC and neutral, catalogues are reposition it at the centre of “multi-layered documents in the Swiss design scene. The which factual information is changes were introduced at embroidered with ideologithe occasion of the yearly ex- cal or situated views” {Joyhibition of the awardees’ euxPrunel:2015wv p84}. In work, which took place that 2002, these views were year at the Museum für especially strong. The SDA Gestaltung in Zurich. The catalogue aimed to create a relaunch was communicated layer of reflection on the not only through press retheme of the exhibition – leases and speeches but networks – and provided a also on a visual level. While nuanced and playful disprevious exhibitions offered course which created a minimal context or discourse visual meta-narrative that {Jaunin:2001uf}, in 2002 an benefitted both the awarunprecedented level of dees and the SDA. attention given to the curaIn 1989, the SFOC published tion, set design and the the first SDA catalogue (Fig. accompanying catalogue.

1). This publication and the Because it was addressed subsequent annuals until primarily to designers, the 2000 did not project any specatalogue made extensive cific editorial direction and use of visual discourses that were similar to publications would have been undersby other design competiti-

ons and exhibitions in the 1990s and early 2000s (Fig. 2). They listed the year’s winners and showed a selection of images of their work sometimes accompanied by a brief description and a short curriculum vitae. Besides short introductory texts, there was no written discourse such as essays or interviews. Production, design and editorial means remained limited, and the work was supposed to speak for itself. The catalogues intended to be a simple commemorative record rather than a place for discourse or critique.

61

team

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Gygi

studio

workflow

specialists

managed by Albert Hollenstein between 1957 and 1974. Split into different team/ departments (typography, studio/ graphic design/advertising workflow/ and later audiovisual), the specialists Studio gathered creative specialists (art directors, Author copywriters, illustrators, photographers, typesetters This is a drawing on textile and typographers), administfor a Christmas card made in rative members (accountant, 1960 by the Swiss graphic secretaries) and salesmen. designer Guido Weber, one As the photographic mateof the employee of the Sturials reveal, the Studio had an dio Hollenstein. Based in open-plan structure and was Paris, the studio was founded split into several units (creain 1957 and managed by the tion, the photography lab, Swiss-trained typographer typography, typesetting and Albert Hollenstein. The audiovisual) in which diffedrawing represents the rent competencies were employees grouped together spatially distributed. This in a Santa sleigh, positioning photograph shows this them as playful subjects. distribution: on the ground Albert Hollenstein, identifiafloor were the typographers ble by his haircut and his supervised by the creative, glasses, is represented alone administrative and commeron the reindeer leading the cial teams on the first floor. sleigh. The separation betThe organization of the ween the employees and Studio had a visual manifesHollenstein is clearly manitation. A hand-drawing fested and evidenced by the designed for a Christmas textual information included card in 1960 by Kurt Weibel on the Christmas card, which (one of the numerous Swiss refers to ‘Hollenstein and his graphic designers who team’, reflecting both the worked at the Studio) illustrahierarchical organization of tes the architectural and the Studio and its collective organizational structure of dimension. the Studio as this picture The team appeared as a shows. On the front cover, a visual and a discursive cross-sectional view, maps strategy to represent and the different activities which position the Studio as a are spatially distributed on collective and professional two floors. Inside the docustructure in opposition to the ment, a drawing composed individual graphic designer like a graphic novel, repreartist. sents some of specialists at These photographs taken in work (photographers, illustthe mid-sixties represent rators, typographers) as to views of the second Studio perform “the chain of speciaHollenstein located in rue lists”. At the end of this chain, Véron in Paris. The Studio the employees are grouped Hollenstein was founded and together in front of a painting

(as to symbolize a vernissage) which is materialized by a piece of folding paper.

Inside it, the face of Albert Hollenstein is illustrated. The status of Hollenstein within the organization is clearly manifested through this drawing. Isolated from the workers, he represented himself as the head of this organization.

72

team

studio

workflow

specialists

71

team

Gygi

studio

workflow

specialists

managed by Albert Hollenstein between 1957 and 1974. Split into different team/ departments (typography, studio/ graphic design/advertising workflow/ and later audiovisual), the specialists Studio gathered creative specialists (art directors, Author copywriters, illustrators, photographers, typesetters This is a drawing on textile and typographers), administfor a Christmas card made in rative members (accountant, 1960 by the Swiss graphic secretaries) and salesmen. designer Guido Weber, one As the photographic mateof the employee of the Sturials reveal, the Studio had an dio Hollenstein. Based in open-plan structure and was Paris, the studio was founded split into several units (creain 1957 and managed by the tion, the photography lab, Swiss-trained typographer typography, typesetting and Albert Hollenstein. The audiovisual) in which diffedrawing represents the rent competencies were employees grouped together spatially distributed. This in a Santa sleigh, positioning photograph shows this them as playful subjects. distribution: on the ground Albert Hollenstein, identifiafloor were the typographers ble by his haircut and his supervised by the creative, glasses, is represented alone administrative and commeron the reindeer leading the cial teams on the first floor. sleigh. The separation betThe organization of the ween the employees and Studio had a visual manifesHollenstein is clearly manitation. A hand-drawing fested and evidenced by the designed for a Christmas textual information included card in 1960 by Kurt Weibel on the Christmas card, which (one of the numerous Swiss refers to ‘Hollenstein and his graphic designers who team’, reflecting both the worked at the Studio) illustrahierarchical organization of tes the architectural and the Studio and its collective organizational structure of dimension. the Studio as this picture The team appeared as a shows. On the front cover, a visual and a discursive cross-sectional view, maps strategy to represent and the different activities which position the Studio as a are spatially distributed on collective and professional two floors. Inside the docustructure in opposition to the ment, a drawing composed individual graphic designer like a graphic novel, repreartist. sents some of specialists at These photographs taken in work (photographers, illustthe mid-sixties represent rators, typographers) as to views of the second Studio perform “the chain of speciaHollenstein located in rue lists”. At the end of this chain, Véron in Paris. The Studio the employees are grouped Hollenstein was founded and together in front of a painting

(as to symbolize a vernissage) which is materialized by a piece of folding paper.

Inside it, the face of Albert Hollenstein is illustrated. The status of Hollenstein within the organization is clearly manifested through this drawing. Isolated from the workers, he represented himself as the head of this organization.

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studio

workflow

specialists

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82

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6

schools

typographie

Training schools/ typographie/ location/ repetition Author Unlike the field of professional practice, graphic design education in Switzerland has mostly been discussed in celebratory publications (Budliger 1978; Hugli 1983; Hoffmann/Weingart 1985; Musée de l’Athénée 1995), in monographs on designers also working as teachers (Caflish/Rüdin/Wälchli 1973; Wichmann 1989; Arrausi 2000; Bignens 2006), or in self-published educational books in which graphic designers lay out their personal theories (Müller-Brockmann 1961; Hofmann 1965; Ruder 1967; Lutz 1987; 1997; Weingart 2000). What was the federal and regional framework of the higher schools and vocational training in Switzerland in the first half of the 20th century, and what effect did it have on graphic design education?

What specific conditions of the Swiss educational landscape fostered the status of “Swiss graphic design and typography”? How do educational strategies change throughout time, and how are they affected by cultural specificities, institutional policy or individual concerns? Art and design education in the 19th century in

location

repetition

Switzerland was modelled either after the tradition of the Ecole des Beaux-Arts (as in Geneva) or the German Kunstgewerbeschulen (as in Zürich). In the mid-20th century, the latter type of educational institution arguably provided fertile soil for the emergence of “Swiss graphic design and typography” by acting in concert with the vocational training taking place in companies. This case study reflects the educational landscape in Switzerland and its specificities mainly during the early 20th century, focusing on particular on the Kunstgewerbeschule Zürich in comparison with similar institutions (Morgenthaler 1972; Schwarz 2007). The role played by arts and crafts schools in Germany in the education of designers and, in turn, their influence through professional associations such as the Deutsche Werkbund, have also been documented and offer a promising avenue for comparison (e.g. Puhle 1993; Fiedler 1999; Breuer et al. 2012). This case study is based on research carried out

by Rudolf Barmettler, a preliminary mapping that deals with the didactic methods of Alfred Willimann (1900– 1957) and Walter Käch (1901–1970) at the Kunstgewerbeschule Zürich, as well as their predecessors. Furthermore, a study by Jonas Niedermann (2013) charts the professional connections surrounding Willimann and Käch in the early 20th century. Peter Vetter has also recently undertaken research on the teaching philosophy of Ernst

7

schools

typographie

Keller (1891–1968). Departing from these projects, significant instances are to be extracted for the purpose of reappraisal with regard to design pedagogical theories (Goldstein 1996;

location

repetition

Buchholz/Theinert 2007). Literature dealing with higher education reforms of the time needs to be consulted to gain a broader overview (Wingler 1977), and a contextualisation in terms Rudi Meyer

Rudi Meyer (Basel 1943), graphic design student at AGS Basel between 1959 and 1963.

SBischler, 2018.03.07, Telephone, German Theo Eble

«Da waren die Bleistiftzeichnungen bei Theo Eble, hunderte Stunden Arbeit. Jeder hatte sich ein Objekt ausgesucht, der Zeichensaal wurde abgedunkelt, es gab eine einzige 1000 Watt Glühbirne, die eine fast sakrale Stimmung erzeugt hat, und man sass immer am selben Platz und hat unglaublich detailliert seinen Gegenstand abgezeichnet. Uns wurde beigebracht, wie man Bleistifte anspitzt, alles über die Härtegrade. Und wie man mit kreisenden Bewegungen ohne Papier zu töten den Untergrund «behandelt». Das hat Eble als eine Art Pädagogik entwickelt.

Rudi Meyer, Student work from graphic design class, course Light and Shadow with Theo Eble, Allgemeine Gewerbeschule Basel, 1958–1963

6

schools

typographie

Training schools/ typographie/ location/ repetition Author Unlike the field of professional practice, graphic design education in Switzerland has mostly been discussed in celebratory publications (Budliger 1978; Hugli 1983; Hoffmann/Weingart 1985; Musée de l’Athénée 1995), in monographs on designers also working as teachers (Caflish/Rüdin/Wälchli 1973; Wichmann 1989; Arrausi 2000; Bignens 2006), or in self-published educational books in which graphic designers lay out their personal theories (Müller-Brockmann 1961; Hofmann 1965; Ruder 1967; Lutz 1987; 1997; Weingart 2000). What was the federal and regional framework of the higher schools and vocational training in Switzerland in the first half of the 20th century, and what effect did it have on graphic design education?

What specific conditions of the Swiss educational landscape fostered the status of “Swiss graphic design and typography”? How do educational strategies change throughout time, and how are they affected by cultural specificities, institutional policy or individual concerns? Art and design education in the 19th century in

location

repetition

Switzerland was modelled either after the tradition of the Ecole des Beaux-Arts (as in Geneva) or the German Kunstgewerbeschulen (as in Zürich). In the mid-20th century, the latter type of educational institution arguably provided fertile soil for the emergence of “Swiss graphic design and typography” by acting in concert with the vocational training taking place in companies. This case study reflects the educational landscape in Switzerland and its specificities mainly during the early 20th century, focusing on particular on the Kunstgewerbeschule Zürich in comparison with similar institutions (Morgenthaler 1972; Schwarz 2007). The role played by arts and crafts schools in Germany in the education of designers and, in turn, their influence through professional associations such as the Deutsche Werkbund, have also been documented and offer a promising avenue for comparison (e.g. Puhle 1993; Fiedler 1999; Breuer et al. 2012). This case study is based on research carried out

by Rudolf Barmettler, a preliminary mapping that deals with the didactic methods of Alfred Willimann (1900– 1957) and Walter Käch (1901–1970) at the Kunstgewerbeschule Zürich, as well as their predecessors. Furthermore, a study by Jonas Niedermann (2013) charts the professional connections surrounding Willimann and Käch in the early 20th century. Peter Vetter has also recently undertaken research on the teaching philosophy of Ernst

7

schools

typographie

Keller (1891–1968). Departing from these projects, significant instances are to be extracted for the purpose of reappraisal with regard to design pedagogical theories (Goldstein 1996;

location

repetition

Buchholz/Theinert 2007). Literature dealing with higher education reforms of the time needs to be consulted to gain a broader overview (Wingler 1977), and a contextualisation in terms Rudi Meyer

Rudi Meyer (Basel 1943), graphic design student at AGS Basel between 1959 and 1963.

SBischler, 2018.03.07, Telephone, German Theo Eble

«Da waren die Bleistiftzeichnungen bei Theo Eble, hunderte Stunden Arbeit. Jeder hatte sich ein Objekt ausgesucht, der Zeichensaal wurde abgedunkelt, es gab eine einzige 1000 Watt Glühbirne, die eine fast sakrale Stimmung erzeugt hat, und man sass immer am selben Platz und hat unglaublich detailliert seinen Gegenstand abgezeichnet. Uns wurde beigebracht, wie man Bleistifte anspitzt, alles über die Härtegrade. Und wie man mit kreisenden Bewegungen ohne Papier zu töten den Untergrund «behandelt». Das hat Eble als eine Art Pädagogik entwickelt.

Rudi Meyer, Student work from graphic design class, course Light and Shadow with Theo Eble, Allgemeine Gewerbeschule Basel, 1958–1963

30

collector

curating

affichomanie

Amateur collector/ curating/ affichomanie/ network A poster collector curating the stock of history Sara Zeller In poster history collectors are considered to have played an important role. Ever since the emergence of the modern illustrated poster during the mid-19th century, it has been a popular item to collect. The lively passion for the new medium lead to a veritable poster craze known as affichomanie.

Posters were affordable for everyone and easy to handle. The first generation of collectors usually bought directly from artists, printers or clients rather than from dealers.

Thus, they took pride in their network. Since they were in close contact with poster producers and clients, it was also the collectors who began to write down the history of the poster based on their “participatory witness accounts”. In the context of these publications the term amateur in the sense of the etymology of the word in French „celui qui aime“ as a self-description of the collector appears. From then onward the term is often used within the discourse.

Private collectors can also be held respon-

network

sible for paving the way for the poster into museums. Their unwavering interest in the medium increased its status, boosted its market value and made it an attractive item for institutional collections. Furthermore, the amateurs were first to organize large international poster exhibitions in major cities throughout Europe and the USA around the end of the 19th century.

Even though they are little known nowadays, private poster collectors played a vital part within Switzerland’s graphic design scene. The following essay examines the role of private collectors within the history of Swiss graphic design, focusing on the example of Fred (Franz Alfred) Schneckenburger (1902-1965), who between 1921–1955 established the probably largest poster collection in Switzerland. From 1930 to 1958 Schneckenburger was employed as manager in the sales department of Schweizer Schleif- und Schmirgelindustrie Frauenfeld SIA. Presumably from 1948 onwards he also took care of the company‘s advertising. Accordingly, his professional responsibilities resulted in a number of overlaps with his activities as a poster collector. Because of his other passion, his great interest in experimental theatre, he mingled with the Zurich avant-garde scene, made acquaintance to artists and teachers at the Kunstgewerbeschule Zürich.

Extraordinarily, Schneckenburger‘s entire collection has been preserved, as he could sell the approximately 15,000 posters to the Kunstgewerbemuseum Zürich in 1955.

31

collector

curating

affichomanie

A few years before the sale, the collector curated several exhibitions in Switzerland and abroad, which he also documented himself. Hence, his view on his collection is still comprehensible today and therefore an interesting source for further research.

The poster collection as a historico-cultural archive Das Plakat als Zeitspiegel (Eng. The poster as a mirror of times) at the Helmhaus Zurich from 14.01.–18.02.1949 was the largest and most reviewed exhibition entirely curated

by Schneckenburger himself. Most of the 909 exhibits of international origin were thematically structured. About half of the exhibits had a political content and were organized after certain historical events or time periods as “The Spanish War” (“Der Spanische Krieg”) or “Rise of National Socialism” (“Entwicklung des Nationalsozialismus”). The other half of the exhibits were cultural or commercial posters and displayed within descriptive categories as “Tourism Posters” (“Verkehrsplakate”) or “Movie Posters” (“Filmplakate”) (Fig. 1).

Already from 1941 onwards, parts of Schneckenburger’s collection had regularly been displayed as a part of poster exhibitions at museums or cultural manifestations in Switzerland. These exhibitions usually focused on the early development of the medium

network

or presented an overview of (Swiss) poster production up to the present day. Schweizer Plakatkunst from 1941 at the Kunstmuseum Luzern was an introspective look at Swiss poster design, reflecting the country‘s inwardly-directed attitude during World War II. In 1942 the Museum Allerheiligen in Schaffhausen showed Das Plakat im 19. und 20. Jahrhundert, an international poster show drawing from Schneckenburger‘s collection. In 1944 Schneckenburger for the first time presents his own selection of posters with a focus on international political propaganda Das politische Plakat im Wandel der Zeiten at the Volkshaus Zurich.

The very title of this exhibition makes visible what is to be continued in the Helmhaus five years later: The idea of viewing posters as historical documents.

In the foreword of the exhibition catalogue of Das Plakat als Zeitspiegel, Schneckenburger consequently frames his entire collection under this aspect: “Normally, poster collections are created according to purely artistic criteria. I have always been fascinated by the poster as a vivid mirror of time, and that‘s why I started collecting from this point of view 30 years ago. I think that the result proved me right, because can you reproduce a certain period of time more 1 Drucker/McVarish 2013. Johanna Drucker, Emily McVarish, Graphic Design History: A Critical Guide, xxxx, yyyy, 2013 2 cf. Drucker 2006, xxx; Drucker/McVarish 2013, xxx. It seems worth noting that even though Johanna Drucker does not seem to consider Müller Brockmann’s work as a serious attempt at writing history, her Graphic Design history does, as mentioned above, start with a similar silhouette of a hand from the same cave.

30

collector

curating

affichomanie

Amateur collector/ curating/ affichomanie/ network A poster collector curating the stock of history Sara Zeller In poster history collectors are considered to have played an important role. Ever since the emergence of the modern illustrated poster during the mid-19th century, it has been a popular item to collect. The lively passion for the new medium lead to a veritable poster craze known as affichomanie.

Posters were affordable for everyone and easy to handle. The first generation of collectors usually bought directly from artists, printers or clients rather than from dealers.

Thus, they took pride in their network. Since they were in close contact with poster producers and clients, it was also the collectors who began to write down the history of the poster based on their “participatory witness accounts”. In the context of these publications the term amateur in the sense of the etymology of the word in French „celui qui aime“ as a self-description of the collector appears. From then onward the term is often used within the discourse.

Private collectors can also be held respon-

network

sible for paving the way for the poster into museums. Their unwavering interest in the medium increased its status, boosted its market value and made it an attractive item for institutional collections. Furthermore, the amateurs were first to organize large international poster exhibitions in major cities throughout Europe and the USA around the end of the 19th century.

Even though they are little known nowadays, private poster collectors played a vital part within Switzerland’s graphic design scene. The following essay examines the role of private collectors within the history of Swiss graphic design, focusing on the example of Fred (Franz Alfred) Schneckenburger (1902-1965), who between 1921–1955 established the probably largest poster collection in Switzerland. From 1930 to 1958 Schneckenburger was employed as manager in the sales department of Schweizer Schleif- und Schmirgelindustrie Frauenfeld SIA. Presumably from 1948 onwards he also took care of the company‘s advertising. Accordingly, his professional responsibilities resulted in a number of overlaps with his activities as a poster collector. Because of his other passion, his great interest in experimental theatre, he mingled with the Zurich avant-garde scene, made acquaintance to artists and teachers at the Kunstgewerbeschule Zürich.

Extraordinarily, Schneckenburger‘s entire collection has been preserved, as he could sell the approximately 15,000 posters to the Kunstgewerbemuseum Zürich in 1955.

31

collector

curating

affichomanie

A few years before the sale, the collector curated several exhibitions in Switzerland and abroad, which he also documented himself. Hence, his view on his collection is still comprehensible today and therefore an interesting source for further research.

The poster collection as a historico-cultural archive Das Plakat als Zeitspiegel (Eng. The poster as a mirror of times) at the Helmhaus Zurich from 14.01.–18.02.1949 was the largest and most reviewed exhibition entirely curated

by Schneckenburger himself. Most of the 909 exhibits of international origin were thematically structured. About half of the exhibits had a political content and were organized after certain historical events or time periods as “The Spanish War” (“Der Spanische Krieg”) or “Rise of National Socialism” (“Entwicklung des Nationalsozialismus”). The other half of the exhibits were cultural or commercial posters and displayed within descriptive categories as “Tourism Posters” (“Verkehrsplakate”) or “Movie Posters” (“Filmplakate”) (Fig. 1).

Already from 1941 onwards, parts of Schneckenburger’s collection had regularly been displayed as a part of poster exhibitions at museums or cultural manifestations in Switzerland. These exhibitions usually focused on the early development of the medium

network

or presented an overview of (Swiss) poster production up to the present day. Schweizer Plakatkunst from 1941 at the Kunstmuseum Luzern was an introspective look at Swiss poster design, reflecting the country‘s inwardly-directed attitude during World War II. In 1942 the Museum Allerheiligen in Schaffhausen showed Das Plakat im 19. und 20. Jahrhundert, an international poster show drawing from Schneckenburger‘s collection. In 1944 Schneckenburger for the first time presents his own selection of posters with a focus on international political propaganda Das politische Plakat im Wandel der Zeiten at the Volkshaus Zurich.

The very title of this exhibition makes visible what is to be continued in the Helmhaus five years later: The idea of viewing posters as historical documents.

In the foreword of the exhibition catalogue of Das Plakat als Zeitspiegel, Schneckenburger consequently frames his entire collection under this aspect: “Normally, poster collections are created according to purely artistic criteria. I have always been fascinated by the poster as a vivid mirror of time, and that‘s why I started collecting from this point of view 30 years ago. I think that the result proved me right, because can you reproduce a certain period of time more 1 Drucker/McVarish 2013. Johanna Drucker, Emily McVarish, Graphic Design History: A Critical Guide, xxxx, yyyy, 2013 2 cf. Drucker 2006, xxx; Drucker/McVarish 2013, xxx. It seems worth noting that even though Johanna Drucker does not seem to consider Müller Brockmann’s work as a serious attempt at writing history, her Graphic Design history does, as mentioned above, start with a similar silhouette of a hand from the same cave.

Fig. 1

Fig. 2

Fig. 1

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35

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collector

curating

affichomanie

network

Fig. 3 Fig. 2

Fig. 3

Fig. 4 Fig. 1 L’affiche miroir du temps, Société royal de beaux-arts de Liège, exhibition catalogue cover, cover, unknown designer, 1954.wn, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 2: Het affiche als beeld van de tijd, Stedelijk Museum Amsterdam, 13.10.–27.11.1950, installation shot, photographer unknown, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 3 Das Plakat als Zeitspiegel, Helmhaus Zurich, 14.01.–18.02.1949, installation shot, photographer unknown, 1949, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 3 L’affiche miroir du temps, Société royal de beaux-arts de Liège, exhibition catalogue cover, cover, unknown designer, 1954.wn, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 1 L’affiche miroir du temps, Société royal de beaux-arts de Liège, exhibition catalogue cover, cover, unknown designer, 1954.wn, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 2: Het affiche als beeld van de tijd, Stedelijk Museum Amsterdam, 13.10.–27.11.1950, installation shot, photographer unknown, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 3 Das Plakat als Zeitspiegel, Helmhaus Zurich, 14.01.– 18.02.1949, installation shot, photographer unknown, 1949, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 3 L’affiche miroir du temps, Société royal de beaux-arts de Liège, exhibition catalogue cover, cover, unknown designer, 1954.wn, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 1

Fig. 2

Fig. 1

34

collector

curating

affichomanie

35

network

collector

curating

affichomanie

network

Fig. 3 Fig. 2

Fig. 3

Fig. 4 Fig. 1 L’affiche miroir du temps, Société royal de beaux-arts de Liège, exhibition catalogue cover, cover, unknown designer, 1954.wn, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 2: Het affiche als beeld van de tijd, Stedelijk Museum Amsterdam, 13.10.–27.11.1950, installation shot, photographer unknown, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 3 Das Plakat als Zeitspiegel, Helmhaus Zurich, 14.01.–18.02.1949, installation shot, photographer unknown, 1949, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 3 L’affiche miroir du temps, Société royal de beaux-arts de Liège, exhibition catalogue cover, cover, unknown designer, 1954.wn, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 1 L’affiche miroir du temps, Société royal de beaux-arts de Liège, exhibition catalogue cover, cover, unknown designer, 1954.wn, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 2: Het affiche als beeld van de tijd, Stedelijk Museum Amsterdam, 13.10.–27.11.1950, installation shot, photographer unknown, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 3 Das Plakat als Zeitspiegel, Helmhaus Zurich, 14.01.– 18.02.1949, installation shot, photographer unknown, 1949, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.

Fig. 3 L’affiche miroir du temps, Société royal de beaux-arts de Liège, exhibition catalogue cover, cover, unknown designer, 1954.wn, 1950, Album Schneckenburger, Poster Collection, Museum für Gestaltung Zürich.