Dylan
Poster
1967 (made)
1967 (made)
Artist/Maker | |
Place of origin |
Milton Glaser was born in 1929 and is widely acknowledged as one of America's most distinguished graphic designers. In 1954, he co-founded the Push Pin Studio, a design firm based in New York, with fellow designers Seymour Chwast, Reynolds Ruffins and Edward Sorel. Though Glaser's graphic output has been extremely varied throughout his illustrious career (he later designed the famous 'I Love New York' logo), among his best known work is this silhouette portrait of folk musician and song-writer Bob Dylan. During the psychedelic era of the mid- to late-Sixties, Glaser often relied on punctuating flat, black expanses with smaller areas of bold colour - which he affixed onto his black shapes using coloured films.Glaser frequently drew on his knowledge of art history in his designs; here he based the patterns in Dylan's technicolour hair on the traditional curvilinear forms of Islamic designs.
Object details
Categories | |
Object type | |
Title | Dylan (assigned by artist) |
Materials and techniques | Colour offset lithograph |
Brief description | "Dylan" Bob Dylan concert poster by Milton Glaser. USA, 1966. |
Physical description | Illustrated portrait of Bob Dylan in profile, in psychedelic colours |
Credit line | Gift of the American Friends of the V&A; Gift to the American Friends by Leslie, Judith and Gabri Schreyer and Alice Schreyer Batko |
Subjects depicted | |
Place depicted | |
Summary | Milton Glaser was born in 1929 and is widely acknowledged as one of America's most distinguished graphic designers. In 1954, he co-founded the Push Pin Studio, a design firm based in New York, with fellow designers Seymour Chwast, Reynolds Ruffins and Edward Sorel. Though Glaser's graphic output has been extremely varied throughout his illustrious career (he later designed the famous 'I Love New York' logo), among his best known work is this silhouette portrait of folk musician and song-writer Bob Dylan. During the psychedelic era of the mid- to late-Sixties, Glaser often relied on punctuating flat, black expanses with smaller areas of bold colour - which he affixed onto his black shapes using coloured films.Glaser frequently drew on his knowledge of art history in his designs; here he based the patterns in Dylan's technicolour hair on the traditional curvilinear forms of Islamic designs. |
Other number | LS.625 - Leslie Schreyer Loan Number |
Collection | |
Accession number | E.172-2004 |
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Record created | October 11, 2005 |
Record URL |
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