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Max Huber: synaesthesia between graphic design and painting

Since the period of training in Zurich thirties, concrete pictorial research and “applied” research to advertising, publishing and typography are closely linked in the method of work of Max Huber, in line with the concept of unity of the arts derived from the Bauhaus. These overshoots give to its graphics an elegance and a communicative strength always far from trite or easy solutions, based on an idea of design culture to the service of man and society.

Questo articolo è stato pubblicato in AIS/Design Storia e Ricerche, numero 1

Chiara Mari

Chiara Mari, PhD in History of Contemporary Art, since 2009 is engaged in research and teaching at the Catholic University of Milan and Brescia. Thanks to a postdoctoral fellowship, she is currently working on a research project at the Fondazione Giorgio Cini in Venice. Her contributions to historical-critical studies investigate aspects of Italian art of the 19th and 20th centuries. She has focused in particular on Milanese caricatures of the second half of the nineteenth century, on the critical debates on monumental sculpture (1920s-1940s), on artistic research between the Sixties and the Seventies and on the dialogue between the visual arts and television.

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