Gustav Stresow

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Gustav Stresow (born August 22, 1910 in Frankfurt am Main ; † July 8, 2010 in Dießen am Ammersee ) was a German publisher , font and book designer .

Life

After his typesetter apprenticeship at the Bauersche foundry in Frankfurt am Main, the owner Georg Hartmann sent him to the United States for two and a half years in 1932 . In New York he got to know the advertising industry, important graphic designers and agencies.

The Bauersche Foundry, known in the book trade, offered factual Futura instead of historicizing fonts . It was there that Stresow encountered international cooperation in typographic design in the type foundry and printing trade.

From 1947 he headed the Prestel publishing house , which originally specialized in art history and the facsimile of drawings by old masters , whose owner Hermann Loeb had fled to Switzerland in 1933 from racist persecution. The publisher was known for its high level of photomechanical reproduction technology.

Stresow rebuilt the factory that had been destroyed in the war and oriented it towards modern art , architecture , cultural history and photography . There were also museum and exhibition catalogs, publications by scientific institutions, travel literature, landscape depictions and city ​​monographs .

Stresow moved to Munich and in 1950 , together with the director of the Munich America House, Stefan P. Munsing, published the catalog on the “Painters at the Bauhaus”. He hired his graphic artist and illustrator Eugen Sporer as artistic director. In 1951 he dedicated a monograph to Oskar Schlemmer .

Books about Oskar Kokoschka , Ewald Mataré , Marc Chagall , or the “ Blue Rider ” created close interrelationships between image and text. The Swiss magazine “Das Werk” praised Werner Haftmann's “ways of visual thinking” with Paul Klee .

The art volume was voted one of the “Most Beautiful Books of 1951”, printed in three German editions, taken over by publishers in England , America and Japan and distributed as a paperback. The catalog for the first “ Documenta ” in 1955 with a print run of 14,000 was soon sold out and had to be reprinted during the exhibition.

In his theoretical writings, Gustav Stresow explored the international context of book art, as with Joseph Blumenthal, the owner of a hand press in New York, who had Bauer cast his self-designed "spiral letters" in 1930.

The font connoisseur also remembered the Venetian Aldus Manutius , whose “Aldine” Claude Garamond developed in Paris for 200 years to be the most used font in Europe, the typographer Giambattista Bodoni with classic editions in popular national languages ​​and Stanley Morison , the designer of the modern “ Times New Roman ".

Stresow was married to the photographer Eva-Maria Czakó .

Works

  • Style and book. A presentation. Munich 1989
  • In search of the book form, ten years of typographic work at Prestel-Verlag. Munich 1959
  • Book trip to Bodoni, a publication on the 250th anniversary of Giambattista Bodoni's birthday. Darmstadt 1990

literature

Web links

Individual evidence

  1. Andreas Hansert, Georg Hartmann: Biography of a Frankfurt font caster, bibliophiles and Konstmäzens. Vienna 2005, p. 94.
  2. ^ The Bauer Type Foundry: Human Touch. New York 1937.
  3. ^ Ernst Fischer: Publishers, booksellers and antiquarians from Germany emigrated after 1933. A manual. Elbingen 2011, p. 199.
  4. ^ Simone Philippi: International Art Book Publishing. Internationalization concepts of German art book publishers since 1990. (PDF; 3.2 MB) Dissertation, University of Cologne, 2005, p. 87.
  5. Philobiblon, quarterly for book and graphic collectors. Issue 1, Stuttgart March 1, 1985, p. 28.
  6. Hans Hildebrandt: Review. In: The work. Volume 38, Basel 1951, p. 125.
  7. ^ Lutz Jahre: Publishing history is media history. Working Group of Art and Museum Libraries , Hamburg 2000, p. 17.
  8. Philobiblon, quarterly for book and graphic collectors. Issue 4, Hamburg November 1978, p. 262.