Glaser represented the illustrator's twin talents through a series of signing hands with a stylized eye drawn in each palm. Against the black background, the rainbow striations of color vibrate and shimmer.
Even in this flattened front-facing perspective, Gerrit Thomas Rietveld's iconic chair is immediately recognizable. Originally designed with standard wood elements painted black, white, and gray, he was eventually swayed by the De Stijl movement's penchant for saturated colors (especially as seen in the paintings of Piet Mondrian); in 1923, Rietveld applied the colors we see depicted here. His conceptual design was one of the first three-dimensional works in this movement. Israeli curator Izika Gaon designed this aptly geometric promotion for an exhibition of De Stijl works at the Israel Museum in 1977. The poster also resides in the collections of the Museum of Modern Art and the Cooper Hewitt Smithsonian Design Museum in New York City.
In this exhibition poster for a retrospective of the Impressionist master’s works, much of the paper is unused, the upper part of the face is in shadow and the lower part is obscured by a beard—yet the image is definitive. Writing about a drawing of Whitman, Glaser notes, "Over a period of years I discovered that my best portraits
Printed in 1969, it was created to advertise the Grain of Sand ceiling piece of the Aleph Sanctuary. The intricacy of this poster is too great to properly be appreciated online. It is absolutely packed with tiny, fascinating images, all poured together to embody this meditational ceiling. It's absolutely amazing.