| Bernard Villemot . From the mid 1930s right up to his death, Villemot was one of the busiest, most prominent and easily recognizable posterists of France. His bold strokes, vivid colors, and above all, those shapely girls, sketched with supreme economy of line and form yet complete in their provocative appeal, enlivened the walls of Paris with irresistible authority. Who can forget those mad swirls for Orangina, the esoteric eccentricities for Perrier, the exotic charms of the Bally posters. Villemot's working theory was, like Cassandre's, "a good poster must be a telegram," and he fully lived up to it, dispatching each message with clarity
(1911 - 1989)
From the mid 1930s right up to his death, Villemot was one of the busiest, most prominent and easily recognizable posterists of France. His bold strokes, vivid colors, and above all, those shapely girls, sketched with supreme economy of line and form yet complete in their provocative appeal, enlivened the walls of Paris with irresistible authority. Who can forget those mad swirls for Orangina, the esoteric eccentricities for Perrier, the exotic charms of the Bally posters. Villemot's working theory was, like Cassandre's, "a good poster must be a telegram," and he fully lived up to it, dispatching each message with clarity.
(1911 - 1989)
From the mid 1930s right up to his death, Villemot was one of the busiest, most prominent and easily recognizable posterists of France. His bold strokes, vivid colors, and above all, those shapely girls, sketched with supreme economy of line and form yet complete in their provocative appeal, enlivened the walls of Paris with irresistible authority. Who can forget those mad swirls for Orangina, the esoteric eccentricities for Perrier, the exotic charms of the Bally posters. Villemot's working theory was, like Cassandre's, "a good poster must be a telegram," and he fully lived up to it, dispatching each message with clarity. |
