Everyday is like Sunday
Throughout his career, Milton Glaser has made a project of creating not-quite-faithful reproductions of the work of the masters he reveres: works after Giorgione, Degas, Monet, and Piero della Francesca are all part of his collection in the Glaser Archives. “Milton Glaser after Seurat” is unique among the group in that he adapts the subject but not the technique. Glaser replaces the original’s dots with Push Pin-style thin black lines and broad swaths of bright, flat color (achieved with cello-tak in this, and many other, mechanicals from the time); yet, Seurat’s and Glaser’s slightly distorted figures are perfectly compatible, and Glaser does hit upon the conspicuously missing element – a comfy lawn chair. Overall, the effect is far sunnier, and though this piece is not dated, I’d be surprised if it weren’t created around the same time Glaser and Push Pin were advancing their influential brand of pop-psychedelia.
Editor: Thanks to reader Don O’Hara for writing in noting that the art above was used for an invitation to a garden party for Design/Research celebrating the “Le Jardin Summer Living Collection” (1977).