Fronzoni found inspiration in what he called the “plainness” and “simple abstract and geometric forms” of Japanese design. He said, “I love rationalism in twentieth-century architecture and art. . . . I detest everything that is superfluous, surplus, redundant, all forms of waste.” These posters are remarkable examples of his minimalist, rigorously black–and–white aesthetic. They feature mostly words, using lettering as structure, means, and ornament of communication. Others feature basic geometric shapes and patterns; lines, voids, and solids are primary tools of composition.
Gallery label from Shaping Modernity 1880–1980, March 28, 2012–September 8, 2013.