Else Czulik was born on October 4, 1898, in Brno (then part of Austria-Hungary, today in the Czech Republic) as the daughter of Alois Czulik, a Colonel and later General Major, and Sophie Czulik.

Her early education took place in Teschen (now Cieszyn, Poland) and then in Vienna, where she attended the “Kunstschule für Frauen und Mädchen“ (Art School for Women and Girls), now known as the “Modeschule Hetzendorf.“ The school was significant in providing education to women who were not yet allowed to enroll at the Academy of Fine Arts. Czulik's teachers included prominent artists like Max Kurzweil, a founding member of the Vienna Secession. She also continued her studies at the private painting school of Gustav Bauer in Vienna.

Czulik began her career in graphic design in 1922, with her first known work dating back to 1921—a poster for the “Kino Messe“ in Vienna. It is believed that her connection to the film industry may have come through her father, who worked for the Pax-Film company. She created several film posters in the early 1920s, notably for productions by Sascha-Film, a company that had been involved in wartime film propaganda. These posters showcased her early style, which was characterized by figurative realism, reminiscent of designers such as Ernst Deutsch-Dryden and Theo Matejko.

By the mid-1920s, Czulik's style began to evolve. She worked for the Georg Pollak Studio, specializing in film posters, and started adopting a more abstract and graphic approach. Her 1926 poster for “Der Rosenkavalier“ is an example of this shift. Between 1929 and 1936, she worked for the prestigious Hans Neumann Studio, which promoted “naturalistic“ posters, aligning well with her artistic style. During this time, she also continued to work independently for both the film industry and commercial advertising.

In 1937, Czulik moved to Leipzig, Germany, where she became a freelance graphic designer. There, she was admitted to the Reich Chamber of Fine Arts in 1937, a requirement for practicing in Nazi Germany. However, her work during this period in Germany is not well-documented in archives, though she did create a controversial poster in 1940 for the anti-Semitic film “Die Rothschilds“. Czulik returned to Vienna in 1941 and later became a member of the “Berufsvereinigung der bildenden Künstler Wien“ (Professional Association of Fine Artists in Vienna) after World War II.

From 1945 to 1950, Czulik ran a graphic design studio in partnership with Robert Kloss, a renowned painter and designer. Together, they worked on advertisements for a wide range of products, including cosmetics, children’s food, and textiles. During this time, Czulik’s style evolved further, influenced by American illustration trends of the 1940s and 1950s, and she became known for creating elegant, soft, and appealing advertisements. Her posters were often awarded in local competitions, such as those for the Benger brand in the early 1950s, and she was recognized for her naturalistic and subtly sensual style, which distinguished her from many of her male colleagues.

After Robert Kloss moved to Germany, Czulik continued her own studio until 1953, when she moved to Munich. In Munich, she worked primarily in the media industry, creating illustrations for magazines and designing book covers, including works for the Franz Schneider Verlag. She also continued her commercial design work, creating advertisements for brands like 4711 and Veedol.

Else Czulik passed away on March 13, 1977, in Munich. Throughout her career, she was known for her unique approach to graphic design, particularly her sophisticated and empowering depictions of women in advertising. Her legacy remains a significant contribution to Austrian and European graphic design, particularly in her ability to infuse commercial art with artistic integrity and a modern sensibility. (hs)