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Original letterpress broadside in German with English in smaller font. 61 x 47cm . Signed and dated by Zapf. Presentation copy in Jerusalem to Raymond Gid, signed and dated again. Creases in margins. Discolored in lower margin.Robert Oppenheimer poster designed and signed by Hermann Zapf. Full text below.From: J. R OPPENHEIMER: "PROSPECTS IN THE ARTS AND SCIENCES":"In the situation of the artist today there are both analogies to and differences from that of the scientist; but it is the differences which are the most striking, and which raise the problems that touch most on the evil of our day. For the artist it is not enough that he communicate with others who are expert in his own art. Their fellowship, their understanding, and their appreciation may encourage him; but that is not the end of his work, nor its nature. The artist depends on a common sensibility and culture, on a common meaning of symbols, on a community of experience and common ways of describing and interpreting it. He need not write for everyone or paint or play for everyone. But his audience must be man; it must be man, and not a specialized set of experts among his fellows. Today that is very difficult. Often the artist has an aching sense of great loneliness, for the community to which he addresses himself is largely not there; the traditions and the culture, the symbols and the history, the myths and the common experience, which it is his function to illuminate, to harmonize, and to portray, have been dissolved in a changing world."Hermann Zapf (pronounced ?tsáff,? born November 8, 1918) was a German typeface designer who lived in Darmstadt, Germany and was married to calligrapher and typeface designer Gudrun Zapf von Hesse.Zapf's work, which includes Palatino (1948, named after 16th century Italian writing master Giambattista Palatino) and Optima (1952, a flared sans-serif, released by Stempel in 1958. Zapf disliked its name, which was invented by Stempel's marketers), has been widely copied, often against his will. The best known example may be Monotype's Book Antiqua, which shipped with Microsoft Office and was widely considered a ?knockoff? of Palatino. In 1993, Zapf resigned from ATypI (Association Typographique Internationale) over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.In 1935, Zapf attended an exhibition in Nuremberg in honor of the late typographer Rudolf Koch. This exhibition gave him his first interest in lettering. Zapf bought two books there, using them to teach himself calligraphy. He also studied examples of calligraphy in the Nuremberg city library. In 1938, Zapf designed his first printed typeface for D. Stempel AG and Linotype GmbH of Frankfurt, a fraktur type called Gilgengart.In 1976, the Rochester Institute of Technology offered Zapf a professorship in typographic computer programming, the first of its kind in the world. He taught there from 1977 to 1987, flying between Darmstadt and Rochester. There he developed his ideas on digital typography further, with the help of his connections in companies such as IBM and Xerox, and his discussions with the computer specialists at RIT. Zapf used his experience to begin development of a typesetting program called the ?hz-program?, which Adobe Systems acquired and later incorporated in their InDesign program.Expertise by: Dominique COURVOISIER,Expert de la Bibliothèque nationale de France. Membre du Syndicat Français des Experts Professionnels en ?uvres d'art5, rue de Miromesnil 75008 Paris.Provenance: from the estate of Raymond Gid who died Sunday November 12, 2000 in Paris. Born on November 25, 1905, Raymond Gid became first known through his posters, after having studied at les Beaux-Arts. As a film enthusiast, he designed many movie posters, for example Vampyr de Dreyer (photomontage, 1932), Le Silence de la mer by Melville (1949), Les Diaboliques by Clouzot (1955). But a meeting with Guy Levis Mano (editions GLM), editor and typog. Codice articolo 16-4938
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