Razzia is the last graphic artist who can legitimately be called a posterist.
In an advertising age dominated by electronic media, Razzia alone continues to produce exemplary traditional poster advertising, works marked with a singular graphic inventiveness that mesmerizes the eye with its playful freshness. His posters embody perfect communication—elegantly modern cool executed with uniquely surreal Art Deco brevity.
Razzia (nee Gérard Coubouleix-Dénériaz) began his career as a successful photographer hirer to capture rock-and-roll giants like Led Zeppelin, the Rolling Stones and Pink Floyd. But soon, Gérard began to feel limited by the camera. Looking for an artistic expression that afforded him the opportunity to control all the details of composition he decided to devote himself to graphic design. With this new sense of purpose, the need for a new name arose. Thus, Razzia was born.
Over the past twenty-five years, Razzia has created some of the most memorable graphic images to grace the contemporary market place—his exemplary Louis Vuitton series, the Deauville diver, his spectacular 1984 French Open design, his Pasta poster (undoubtedly his signature design), the seductive Cigars composition. The list goes on. Razzia has created images in the spirit of vintage posters that belong to the collective unconsciousness, images that have the power to change perception, transcend trends, and ultimately, take on a life of their own.
A promotional maverick who retains creative control over every image he produces, Razzia has conceptualized fresh images for fashion, music, sports, charitable causes and a myriad of events, Ripples of past masters manifest themselves in stylistic touches throughout his works—echoes of Cassandra, Cappiello, Erte and Broders,
Regardless of the client or product one constant perpetually surfaces; when one comes across a Razzia design it's as if it's being seen for the first time—even if that's far from the truth. And that, without question, is a contribution well worth celebrating.
Razzia is the last of a dying breed. Quite possibly, he represents a glorious Art Deco conclusion to the contemporary possibilities of the poster. This 204 page book, with 149 color illustrations, is the first compilation of the artist's brilliant contribution to the poster medium.
