The Priester Match poster is a watershed document of modern graphic design, or rather, proto-Modern design. Its composition is so stark and its colors so startling that it captures the viewer’s eye in an instant. Before 1906, when the poster first appeared on the streets of Berlin, persuasive simplicity was a rare thing in most advertising: posters, especially, tended to be wordy and ornate. No one had yet heard of its young creator, who, thanks to this poster, was to influence the genre of advertising known as the Sachplakat, or object poster.
“Over the course of his career, which progressed from the turn of the century to the 1950s, Lucian Bernhardbecame a prolific designer not only of innovative posters but oftrademarks, packaging, type, textiles, furniture, and interior design.From his studio in New York City (he left Berlin in 1922), hedeveloped some of the most recognizable American business advertisingand trademarks, for such clients as Cat’s Paw, ExLax, and Amoco. He also designed more than thirty-five popular display typefaces, including Bernhard Gothic.”
Bernhard has, of course, been acknowledged in design histories, but a full-bore exhibition of his work is needed to re-establish his importance in the twenty-first century. Enter the IFA (Institut für Auslandsbeziechungen) in Stuttgart with a planned traveling exhibit “Lucian Bernhard: Advertising and Design at the Dawn of the 20th Century.” At present its only planned venue is at the Goethe Institut in Kiev, Ukraine (Jan 1 – June 30, 2011). But if we wish hard enough, and someone in this country contacts IFA about the feasibility of the exhibit coming to the United States, then maybe that wish will come true.
In the meantime, a catalog from an earlier exhibit is available in German and English here, including a text by his son and collaborator, Karl Bernhard.