Graphic Art for the Olympic Games 1972

 
 

The desire to reach the general public was also, to a large extent, the goal of the Olympic Games that took place in Munich in 1972. It was the first time that such an event was transmitted worldwide by television and, thereby, tragically also the first time a terrorist attack was viewed globally. For the first time the overall design, created by Otl Aicher, used predominantly images instead of text. Nearly 30 international artists were commissioned by the Olympic organizers and the Bruckmann-Verlag to create editions of prints especially for the Olympic Games. The goal was to unite art and sports.

These posters were displayed all around the city of Munich and around the Olympic sites. Posters were hung in twos alongside posters designed by famous artists chosen to represent this Olympics such as David Hockney, R. B. Kitaj, Tom Wesselmann, Friedensriech Hundertwasser, Victor Vasarely, Serge Poliakoff, Allen Jones, and many others.

 
 

Pierre Soulages

 
 

Josef Albers

 
 

Eduardo Chillida

 
 

Serge Poliakoff

 
 

Friedensriech Hundertwasser

 
 

Oskar Kokoschka

 
 

Hans Hartung

 
 

Ronald Brooks Kitaj

 
 

Allen Jones

 
 

Charles Lapique

 
 

Tom Wesselmann

 
 

Victor Vasarely

Advertisements

Artist’s Room

Bedroom in Arles (La Chambre à Arles) is the title given to each of three similar paintings by 19th-century Dutch Post-Impressionist painter Vincent van Gogh.

Van Gogh’s own title for this composition was simply The Bedroom (La Chambre à coucher). There are three authentic versions described in his letters, easily discernible from one another by the pictures on the wall to the right.

The painting depicts Van Gogh’s bedroom at 2, Place Lamartine in Arles, Bouches-du-Rhône, France, known as his Yellow House. The door to the right was opening to the upper floor and the staircase; the door to the left served the guest room he held prepared for Gauguin. The window in the front wall was looking to Place Lamartine and its public gardens. This room was not rectangular but trapezoid with an obtuse angle in the left hand corner of the front wall and an acute angle at the right. Van Gogh evidently did not spend much time on this problem, he simply indicated that there was a corner, somehow.

 

Sketch from a letter to Theo

 

Van Gogh started the first version during mid October 1888 while staying in Arles, and explained his aims and means to his brother Theo:

This time it simply reproduces my bedroom; but colour must be abundant in this part, its simplification adding a rank of grandee to the style applied to the objects, getting to suggest a certain rest or dream. Well, I have thought that on watching the composition we stop thinking and imagining. I have painted the walls pale violet. The ground with checked material. The wooden bed and the chairs, yellow like fresh butter; the sheet and the pillows, lemon light green. The bedspread, scarlet coloured. The window, green. The washbasin, orangey; the tank, blue. The doors, lilac. And, that is all. There is not anything else in this room with closed shutters. The square pieces of furniture must express unswerving rest; also the portraits on the wall, the mirror, the bottle, and some costumes. The white colour has not been applied to the picture, so its frame will be white, aimed to get me even with the compulsory rest recommended for me. I have depicted no type of shade or shadow; I have only applied simple plain colours, like those in crêpes.

 

Sketch from a letter to Gauguin

 

Van Gogh included sketches of the composition in this letter as well as in a letter to Gauguin, written slightly later. In the letter, Van Gogh explained that the painting had come out of a sickness that left him bedridden for days. This version has on the wall to the right miniatures of Van Gogh’s portraits of his friends Eugène Boch and Paul-Eugène Milliet. The portrait of Eugène Boch is called The Poet and the portrait of Paul Eugène Milliet is called The Lover.

In April 1889, Van Gogh sent the initial version to his brother regretting that it was damaged by the flood of the Rhône while he was interned at the Old Hospital in Arles. Theo proposed to have it relined and sent back to him in order to copy it. This “repetition” in original scale (Van Gogh’s term was “répetition”) was executed in September 1889. Both paintings were then sent back to Theo.

 

First version, October 1888

 

Second version, September 1889.

 

Third version, end September 1889

 

Schiele’s Room in Neulengbach (Das Zimmer des Künstlers in Neulengbach), Egon Schiele, 1911

 

In his early years, Egon Schiele was strongly influenced by Gustav Klimt and Oskar Kokoschka. Although imitations of their styles, particularly with the former, are noticeably visible in Schiele’s first works, he soon evolved into his own distinctive style. He also painted tributes to Van Gogh’s Sunflowers as well as landscapes and still lifes.