Scope and Contents

The drawing on the colophon page consists of a large K in ink and green graphite. Two phrases are handwritten at the top and bottom of the K: "Quand bien meme lance dans des circonstances eternelles" and "Toute pensee emet un coup de des." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The catalogue reproduces and documents Massin's book and record covers as well as some typographic layouts and bookbindings. The drawing on the colophon page consists of the letter K with an arm and leg hand drawn and colored. Inscribed on each side of the K is the phrase "Cette lettre K qui derive du [symbol of bent arrow] Phenicien." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The catalogue reproduces and documents Massin's book and record covers as well as some typographic layouts and bookbindings. The drawing on the colophon page consists of the letter K where part of the K becomes an arrow. Inscribed on the side of the K is an inscription in French. The Sackner Archive holds the preceding two volumes with the letter "K." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition displayed examples of international graphic design with emphasis on French designers. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is subtitled "La Figuration dans l'alphabet latin du huitieme siecle a nos jours." Raymond Queneau contributed a preface. This is a new and augmented edition with the dust jacket cover by Andre Francois. The anthology, with text by Massin, is divided into three main sections. The first section is a discussion of the letter itself, the letter as symbol and the history of letters. The next section contains figurative verse and calligrams, shaped poetry and prose throughout history. The final section of the book examines the use of letters in fine art and how the letter form has grown in importance throughout the history of art. The diverse illustrations are international in scope and range from early Christian prayer books and Gothic alphabets to contemporary works.On the title page, the caption that this is a new and expanded edition appears; the first edition was published in 1970. The dust jackets differ between the two second editions. -- Source of annotation: Marvin or...

Scope and Contents This book is subtitled "La Figuration dans l'alphabet latin du huitieme siecle a nos jours." Raymond Queneau contributed a preface. The dust jacket has an illustration by Folon. The antholgy, with text by Massin, is divided into three main sections. The first section is a discussion of the letter itself, the letter as symbol and the history of letters. The next section contains figurative verse and calligrams, shaped poetry and prose throughout history. The final section of the book examines the use of letters in fine art and how the letter form has grown in importance throughout the history of art. The diverse illustrations are international in scope and range from early Christian prayer books and Gothic alphabets to contemporary works.The dust jacket of this copy is frayed at the top. The caption on the other copy of this book does not indicate that this is a second edition; however, the first edition was published in 1970 not 1973 as in this edition. he dust jackets differ...

Scope and Contents The title is of a ballet in one act with choreography by Borlin, libretto by Cocteau, music by Auric, Milhaud, Tailleferre, Honegger, and Poulenc, set by Irene Lagut and costumes by J. Hugo. Premiered 18 June 1921 by the Ballets Suedois at the Theatre des Champs-Elysees in Paris with C. Ari, J. Figoni, and K. Vahlander. The ballet, a farce, is set on the first platform of the Eiffel Tower where a hunchbacked photographer tries to take pictures of a wedding party. Although L. Durey was not involved in the ballet, it is none the less considered to be a showpiece for the musical ideas of the group of composers known collectively as Les Six. Massin has rendered Cocteau's libretto in a wide variety of bold contemporary and ancient typefaces with a concrete poetic appearance. He often places the text across facing pages. "This is a historically famous work, but one more often encountered in music history books than on concert or theatrical stages. One is much more likely to hear...

Scope and Contents

This anthology, with text by Massin, is divided into three main sections. The first section is a discussion of the letter itself, the letter as symbol and the history of letters. The next section contains figurative verse and calligrams, shaped poetry and prose throughout history. The final section of the book examines the use of letters in fine art and how the letter form has grown in importance throughout the history of art. The diverse illustrations are international in scope and range from early Christian prayer books and Gothic alphabets to contemporary works.The English edition of this book has not printed the appendices present in the original French edition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Amazon.com: "Robert Massin (b. 1925) is a highly influential French graphic designer and writer. He has worked with many famous authors and playwrights, including Eugene Ionesco, Blaise Cendrars, and Raymond Queneau, and for twenty years has been the art director for the pre-eminent French publisher Gallimard. This is the first monograph published in English on the work of Massin, one of the key exponents in the development of post-war graphic design. Wolff charts Massin's wide-ranging career with detailed discussion of some of his most inventive and exciting projects, including the award-winning THE BALD PRIMA DONNA (1964) and LETTER AND IMAGE (1970). Wolff carried out her research in close collaboration with Massin, gaining unrivaled access to the Massin collection in Chartres as well as the designer's personal archives. MASSIN includes preparatory sketches, letters, and finished works, photographed especially for this book." -- Source of annotation: Marvin or Ruth Sackner.