Posters

Six decades of posters

Reisinger’s posters span his entire carrier, starting at his days in Bezalel Academy in the early 50’s all the way to the digital age. In this length of time the poster shifted significantly both in it’s purpose and it’s means of production.

“The history of the modern poster reflects the history of man and culture during the past hundred years. The visual expression of questions that are local and global, personal and universal, has created a sphere where art and design overlap. Reisinger’s posters bear witness to the metamorphosis that the Israeli society and its culture have undergone during the past Six decades. This is the formidable case of a visual creator who keeps adding richness of color and innovative design to the community environment – as well as documenting the history of a nation.” – Yarom Vardimon –

The following selection of posters provide an overview of Reisinger talents and achievements in this medium.

Peace, 1969

From the beginning

Since Reisinger’s days in Bezalel Academy of Arts his poster design drew notice and recognition. ‘From the city to the countryside’ granted his the academy’s Shtruk prize. The poster was soon after published in the Hebrew Encyclopedia – see under: Bezalel.

From the City to the Country, 1953

The IDF Tests Our Alertness, 1954, Israeli Air Force

World Fair, Brussels 1958

Expo 58, Brussels, 1958

LONDON 1959-60

sketch

Cable & Wireless Services, 1959, British Post Office

preliminary idea for the poster

The early 60’s

Resinger’s early posters provide not only a scope over his artistic progression, but also a perspective on some the topics and social issues of in the young state of Israel.

I Walk for my Health & Wellbeing, 1962

Towards the Third Million, 1962, election poster

The long-forgotten, and brief, chapter of car ferries to and from Israel

Near East International Fair, Tel Aviv. 1962-64

Poster for the Near East International Fair, 1962

Poster for Amisragaz, 1961

Poster for the Near East International Fair, 1964

Poster for Independence Day Celebration at the Tel Aviv Fairgrounds, 1963

Kaiser-Ilyn Industries

Kaiser-Ilyn was among the pioneers of Israeli industry, its operations ranged from assembling imported cars to house hold goods, such as the Dafna reclining chair.

The growing use of photographs to become the main tool of advertising in the coming decades did not inhibit Reisinger from expressing his personal take on the poster’s subject at hand. The Contessa poster classic provide such an example. Reisinger often retrieved posters from their final printing plate (usually more detailed text) in order to preserve their original aesthetic quality.

Advertisement poster for Dafna garden chairs, 1970

Advertisement poster for Amcor fireplace, 1961

Tokyo Olympics, 1964

In direct reference to Yusaku Kamekura symbol of the 1964 Tokyo Olympics

Dance and Musicals

Studies for George Bernard Shaw’s My Fair Lady were integrated in ads and publications of the Habima Theater production.

Poster for My Fair Lady, Habima National Theatre, produced by Giora Godik, 1964

Poster for West Side Story by Leonard Bernstein and Stephen Sondheim at Habima National Theatre, 1961

Poster for the Japanese Ballet, produced by Giora Godik, 1963

Poster for Batsheva Dance Company, 1963

Swedish Dance Troupe

Collage posters

text

Poster for Uri Zohar’s film Hole in the Moon, 1964

Poster for Youth City, 1963

Poster for Habima National Theatre’s Julius Caesar by William Shakespeare, 1961

Poster for Habima National Theatre’s The Queen and the Rebels by Ugo Betti, 1961

EL AL Destination Posters

El Al Rainboeing the Skies, poster, 1971

Amsterdam

Copenhagen

Canada

Rome

Istanbul

Vienna

Zurich

London

Paris

Pilgrimage to the Holy Land, 1968

Independence day posters

Officia independence day poster, 1970

Officia independence day poster, 1974

1970’s

Reisinger’s work in Graphis Magazine Vol. 190.

“The core of Reisinger’s success lies in his ability to transmit an idea, a meaning, a message, in a visual form which is concise, lucid and original. His work – environmental, three-dimentional and graphic – defies identification with any specific style which would stamp or classify him. If anything, his trade mark could be said to be colour.
His first posters were takes directly from paintings and have evolved into a clear colour language using all the possibilities of modern printing technology” – Izika Gaon

Israel 20th Anniversary, 1968

El Al Rainboeing the Skies, poster, 1971

Op-Art posters

Poster for Sixth International Harp Contest, 1976

Poster for the Israel Festival, 1969

Harp festival certificate of participation

Sixth International Harp Contest, 1976

the Israel Festival, 1977

Advertisement poster for Amcor refrigerator, 1968

Poster for British Post Office Overseas Telegraphs, 1965

Hebrew Book Week, 1979

Poster for the 8th Zimriya, international assembly of choirs, 1975

Poster for Reisinger’s exhibition at the Israel Museum, Jerusalem, 1976

Design from Israel exhibition poster, 1976

Poster for the Israel Technology Week, Jerusalem, 1981

Poster for the Color exhibition at the Israel Museum, 1979–80

Poster for the Textiles exhibition at the Jerusalem Theater, 1982

Exhibition of Israeli posters in Germany, 1985

Poster for Israeli export, 1982

Israel in MUnich, 1980

Israel Week, Bloomingdale's, 1979

Independance day march to Jerusalem in the Footsteps of the Palmach on Independence Day, poster, 1987

Kfar Vradim, 1984

Israel print industry, 1989

Israeli Graphic Design Association 50th Anniversary, 1985

Icograda conference in Israel, 1989

Israeli Architecture exhibition in Russia, 1997

Israel Museum 20th Anniversary, 1985

Patents exhibition at the Israel Museum, 1982

Political Posters

Q: On a sheet of paper in block letters you wrote your name and surname. Then you folded so that the letters composed the word DANGER. Is the thread, the danger really inscribed in your personality?

A: It does not necessarily concern a kind of danger directly related to myself, me being in danger, but concerns thinking of the threat to other people.
We should be conscious of it, because it is in hiding everywhere. It is a counterpart of my optimistic character.

… Let us see now the danger in Darfur. It does not concern only a threat in personal scope, but rather a total threat in social scope. In a wider context. We must see the danger not as something terrifying personally ourselves, but rather as something terrifying our brothers, our friends, whole the humanity in general.