Shells and design, late 1970s
Category: design, graphic design, costume design, fashion design
Oppenheimer und Kokoschka
Oppenheimer, who had begun signing works MOPP by 1911, was initially friendly with both (Oskar) Kokoschka and (Egon) Schiele. But this poster, which he designed for his first Munich exhibition, brought accusations of plagiarism from Kokoschka, who found its subject—a gaunt, naked self-portrait figure bleeding from a chest wound—too close to his own agonized poster of a year earlier (images below). | quoted from MoMA
Valeska Gert by Mammen / Kainer
Monna Vanna · Plakat, 1917
Orientalische Tänzerin, 1920
Maskerade (Lo Hesse)
Carmen Tortola Valencia, 1912
Tschaikiun, Lo Hesse (1920)
‘Primula Vera’ (Lo Hesse), 1920
“Schnackenberg was a regular contributor to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East.” (quoted from source)
Lo Hesse, Rollenporträt
German dancer and model Lo Hesse was the muse of German Avant-garde designer Walter Schnackenberg in the 1910s. She was known for her extravagantly costumed performances with famed dancer Joachim von Seewitz.
“Schnackenberg was a regular contributor to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East.”
un regard oblique 