Lora Lamm studied graphic design from 1946 to 1951 under instructors including Johannes Itten, Ernst Keller and Ernst Gubler at the School of Arts and Crafts in Zurich. With her studies complete and a few initial appointments behind her, she was drawn to Milan, a city flourishing in the post-war economic boom. She started out at Studio Boggeri, where other well-regarded Swiss designers also worked, before moving to Panettone Motta Milano as a packaging designer. In 1954, on the recommendation of the Swiss graphic designer Max Huber, she switched to the advertising department of the celebrated Milanese department store La Rinascente, standing in shortly thereafter for the chief designer with responsibility for design and production of the in-house magazine Cronache. She rapidly imposed her own design visions and attracted a new female clientele to La Rinascente. With her experimental use of photography, illustration and typography - inspired partly by examples of graphic design at international department stores in New York and Tokyo - she defines the imagery of the fashion world to this day. From 1958 onwards, Lamm worked freelance for La Rinascente and the associated department store Upim. This enabled her to continue working independently for other clients such as Pirelli, Elizabeth Arden, Niggi and Latte Milano. Lamm returned to Zurich in 1963, joining the advertising agency Frank C. Thiessing as a partner shortly afterwards.
Lora Lamm at her home for Apartamento Magazine 2015
THANK YOU FOR THE BEAUTIFUL WORKS LORA LAMM ***
The Story Behind
Pablo Picasso ceramics
At the end of the 1940s, Picasso started creating ceramic works. At the time, he spent his summers on the Cote d’Azur in the South of France. Following earlier trips to the Riviera, where he was inspired by the clarity of the light and the bright Mediterranean colors, the artist visited Vallauris for the annual pottery exhibition in 1946. Impressed by the quality of the Madoura works, he was introduced to the owners, Suzanne and Georges Ramié, who welcomed him into their workshop, and gave him access to all the tools and resources he needed to express his creativity with ceramics. In exchange, the Ramié family would produce and sell his ceramic work. This collaboration with the local ceramicists spanned 25 years.
Picasso went on to create clay pieces throughout the last years of his life. He initially found that working with clay was a relaxing summer respite from the more strenuous demands of painting. He began with simple utilitarian objects, such as plates and bowls. He then proceeded to create more ambitious forms, such as pitchers and vases, where the handles became facial or anatomical parts of the animal depicted. The subjects are very creative and playful, and include Greek mythological figures, animal shapes, such as owls and fishes, corrida scenes, and face motifs, among others.
This experience with clay was also a success for Picasso’s personal life, as he met Jacqueline Roque at the Madoura factory in 1953, who would become his second wife in 1961.
Special Thanks to ARTNET NEWS for the Picasso source information.
YOU JUST SAW THE #BLINGTASTIC WORKS OF PABLO PICASSO.