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.
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.
World Fair, Brussels 1958
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.
Near East International Fair, Tel Aviv. 1962-64
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.
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.
EL AL Destination Posters
Independence day posters
“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
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.