999 Olympische Spiele München 1972 to use the design with the black background for the Olympic poster. But the other designs, which must be like-wise regarded as rare works of art, are no less interesting. The classical torso surrounded by a frame of sensitive lines is an especially happy embodiment of the spirit of sport and struggle with which the Olympic idea is imbued. The posters of the third series, which are equally characteristic of the artists who created them, present a totally dif ferent aspect. With a view to show that the creation of a modern work of art is not determined by the age of the artist we quite deliberately gave the date of birth along with the name of the respective artist. And so we state a dramatic contrast between the conception of Josef Albers, born in 1888, and the design of R. B. Kitaj who is his junior by 44 years - and yet both designs are artistic expressions of our time. The same statement might be applied to the design by Allan d'Arcangelo, David Hockney and Otmar Alt who all of them belong to about the same age group and who - inspite of the great formal differences - are typical representatives of 20th century art. Even more striking, because especially poster-like are the designs by Max Bill and Tom Wesselmann which, while open to different inter pretations, are both distinguished by strong colour ed and graphic accents. The Edition Olympia 1972 has scheduled the publication of further posters by internationally acclaimed artists in the coming months. Gebrauchsgraphik will once more present them to its readers upon publication. L Edition Olympia, qui devait diffuser des affiches PAUL WUNDERLICH geb., born, né: 1 927 - Eberswalde/Berlin, Deutschland, Germany, Allemagne lebt in, residence, habiteHamburg, Deutschland, Germany, Allemagne Linke Seite, left page, page de gauche: Vorentwürfe, first drafts, pré-maquettes 13

Gebrauchsgraphik de | 1971 | | page 19