Color offset lithograph poster. 61x45.5 cm (24x18"). One of one hundred signed copies from a total edition of 2,000. Second Edition. Signed by David Lance Goines at lower right corner, dated 1972. "This poster says it all. After a bit of batting around, peering into this artistic style and that, trying them on for size, I settled on the Vienna Secession and the Jugendstil-the German Art Nouveau-as models. They, in turn, draw from the deep well of Japanese ukio-e woodblock prints of the Edo period, to which the West was exposed from the third quarter of the nineteenth century. The Velo-Sport design is bilaterally symmetrical, employs avian symbolism, contrasts light and heavy elements-the tiny bicyclists racing the great death-symbol steam locomotive-and cheerfully throws together two completely different kinds of perspective. My fascination with complementary colors, particularly blue and orange, may stem ultimately from childhood exposure to The Bookhouse Books, dating from 1920 and still-so far as I know-in print. To soften the transition from one area of color into the next, I adopted the soft grey or pale color outline motif from Otto Obermeier and Ludwig Hohlwein though it was a common enough design element through the early part of this century." - David Lance Goines DLG 4.
Color offset lithograph poster. 61x45.5 cm (24x18"). One of one hundred signed copies from a total edition of 2,000. Second Edition. Signed by David Lance Goines at lower right corner, dated 1972. "This poster says it all. After a bit of batting around, peering into this artistic style and that, trying them on for size, I settled on the Vienna Secession and the Jugendstil-the German Art Nouveau-as models. They, in turn, draw from the deep well of Japanese ukio-e woodblock prints of the Edo period, to which the West was exposed from the third quarter of the nineteenth century. The Velo-Sport design is bilaterally symmetrical, employs avian symbolism, contrasts light and heavy elements-the tiny bicyclists racing the great death-symbol steam locomotive-and cheerfully throws together two completely different kinds of perspective. My fascination with complementary colors, particularly blue and orange, may stem ultimately from childhood exposure to The Bookhouse Books, dating from 1920 and still-so far as I know-in print. To soften the transition from one area of color into the next, I adopted the soft grey or pale color outline motif from Otto Obermeier and Ludwig Hohlwein though it was a common enough design element through the early part of this century." - David Lance Goines DLG 4.
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
