In her brilliant book The Poster, Ruth E. Iskin speaks of the iconography of the female print connoisseur seen in posters as a reflection of the growing middle class of the 1890s. "Typically, this new figure was a fashionable woman directing a sustained gaze at an original print she has selected from a portfolio... Gottlob's poster depicts a woman wearing a decorated hat, indicating that she is seated in the public space of a gallery rather than in her home. Her aesthetic gaze is focused on a single black-and-white print... The woman is holding up the print for inspection, having presumably selected it from the portfolio. The bright yellow background highlights the print and turns her upper body into a well-defined silhouette while functioning as a glowing backdrop for the dark-colored lettering announcing the exhibition" (Iskin, pp. 106-107).
Picasso announces his LACMA exhibition of 60 years of work with a playful design—a Cubist-style clown, flanked by the artist's childlike handwriting. This charming image was a trial proof before printing the final poster, and is one of 100 copies.
A year after his celebration of Art Deco for Chevrolet (see No. 63), Alfred Cardinaux would launch himself into Peak Art Deco for Berne Air Lines with this brilliant angular design positing Berne as the center of an aviation network streaking into the sky.