Early Modern Movements
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Transcript of Early Modern Movements
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Early Influences of modernismEarly Modernism was a movement characterized by its deliberate
break from design patterns and traditions of the past.
Reacting against Victorian sensibilities, and distraught by politicaland social upheavals across the globe, these artists sought to
create a new concept of design through experiments in
simplicity, geometry, color, and photography.
Early modern designers drew inspiration from modern art
movements, and frequently traveled through Europe to drawinspiration from each other as well.
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Early InfluencesEarly pioneers of Modernism began to
experiment with geometric forms.A major player in the early days of
Modernism, Peter Behrensdesigned for the Allgemeine
Elektrizitats-Gesellschaft (AEG).(Top)
This cover for the Berlin Electric Works
Magazine (bottom right, 1908)
demonstrates his geometricapproach to design problems.
Edward Johnston contributed an
exclusive typeface for the LondonUnderground, in addition to this
revised symbol (bottom left) whichwas used until 1972.
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Modern Art Influences
Around the world, modern art was in a constant state of change.
Pressing economic and political turmoil pushed artists to find
new ways of expression, resulting in a series of modern art
movements that went on to influence graphic design.
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CubismCubism began to appear in the first part of
the 20th century. Cubist art often
displayed its subject using a series ofgeometric planes, allowing the viewer to
see multiple angles in one piece.
The geometric abstraction present in Cubist
paintings became a pivotal influence on
modernism.
Left: Woman with a guitar, by GeorgesBraque, 1913Right: Le Guitarist Pablo Picasso 1910
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FuturismFuturism was a movement launched by Filippo
Marinetti, designed to express the speed and
noise of 20th century life.
Futurist artwork used typography and writing as its
own expressive means. Words used color,
character attributes, and position to express whatimages could not.
Top: Carlo Carra,Guerrapittura (War-Painting), 1915.
Bottom: Cover and page
design for Zang TumbTumb: AdrianopoliOttobre 1912 by Filippo
Marinetti.
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Dada
Dada was a short-lived movement reacting tothe horrors that fell on society during and
after World War I.
Dadaists sought to destroy tradition through the
use of shock and nonsense, and the
movement became a means for protest with
a deep underlying negativity.
Left: Dada 6 (Bulletin Dada), Tristan Tzara1920Right: John Heartfield, Hitler tells fairy tales II,
INSCRIPTION: ...and then the poor GermanMichel screamed so long, that finally the
whole world believed him: Help, help, I'msurrounded!
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SurrealismArtists found a means of expressing fantasy and
intuition through Surrealism.
Surrealist works often included dream-like
images, unexpected juxtapositions, and non-
sequiturs.
Top: The Difficult Crossingby Rene Magritte, 1926.Bottom Left: The Red Tower
by Giorgio de Chirico. 1913.Bottom Right: Salvador Dali.
(Spanish, 1904-1989). ThePersistence of Memory.1931.
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ExpressionismExpressionism extended beyond
its subject to depict emotionsand personal responses usingcolor, line and proportion.
Images were often exaggerated ordistorted in symbolic
representation.
Top: Woman with Dead Child by KatheKollwitz, etching, 1903Bottom Left: On White II by Wassily Kandinsky,
1923.Bottom Right: Henri Matisse. Portrait of
Madame Matisse. (The green line). 1905
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PhotographyAlthough not a new medium, photography
was rapidly developing during this timeperiod. Artists began to explore
photographic options such as multiple
exposures, and differences in light and
shadow.
Often these photographic discoveries
intersected with surrealism, resulting in
dream-like images.
Left: Man Ray (Rayograph) Untitled,Right: Alvin Langdon Coburn, Vortograph, 1917
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Art NouveauArt Nouveau was a movement characterized by its
simplification of objects.
Subjects were drawn with very little detail, and littleor no tonal variation. Modernists expanded onthis idea, simplifying objects even further.
The result was a mechanized, often geometricrepresentation of subjects that embodied thecultural shift toward reliance on technology andindustry.
Left: Folies-Bergere,Jules Cheret
Right: Ambassadeurs,
Henri de Toulouse-Lautrec
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Plakatstil (Poster style)Early expressions of modernism are evident in the simplistic
and flat-colored Plakastil (poster style) design school.Plakatstil artists often included nothing more than a single
background color, a large simple image, and the product
name.
The Sachplakat movement in Switzerland was closely related
to the Plakatstil, sharing characteristics of minimalism.
Left: Ludwig Hohlwein, Gaba(bookplate), 1926Center: Otto Baumberger, Hotel
St. Gotthard Zurich, 1917Right: Lucian Bernhard, Breisgau-
Perle, 1914
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Political & Social ClimateThe political and social climate during the
first part of the century was a major
catalyst for modernist ideas.Starting before World War I, many
countries were facing growingtensions and unrest in the socialorder.
These tensions became evident in thedesign world as modernists sought to
break from past ideologies, andexperiment with new forms thatechoed their dissatisfaction withtradition.
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World War IWith the onset of World War I in 1914, applied
art took on a new role as a means of
propaganda.Countries seeking to justify their involvement in
the war to end all wars launched postercampaigns to acquire resourcesnecessary for the conflict, and to garnersupport from the public.
Modernist ideals of simplistic form andgeometric expression are evident in these
examples of propaganda from variouscountries.
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The Nazi RisingThe National Socialist German Workers (Nazi) Party, led by
Adolf Hitler, rose to power during the economic andpolitical turmoil in Germany that followed World War I.
Hitler and the Nazi party launched a massive, andpsychologically powerful propaganda effort in order toadvance their views and gain power.
These posters, like propaganda used during World War I,embody the ideals of modernist theory. Even the swastikasymbol of the Nazi party (right) embraces the puregeometric form loved by modernists.
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The Russian Revolution and the
Spread of SocialismLike Germany, Russia was facing serious political and economic
turmoil following the war.
Political and social upheavals resulted in the overthrowing of
Czar Nicholas II and the end of Russias Romanov dynasty.
Shortly after, the Bolshevik party led by Vladimir Lenin, gained
power, establishing rule in what was to become the Soviet
Union.
Under the new socialist regime, the artists sole purpose was to
advance socialist theory. Art for arts sake was denounced,
and artists who refused to comply were severely punished.
Unable to express themselves, many artists and designersperished in the Gulags (Soviet prison and labor camps).
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ConstructivismA result of changes in Russia (USSR), a new movement of art
and architecture called Constructivism was born.
Constructivists believed that pure art had no purpose in
society, and that arts only application was to serve the
new socialist regime.
Dominant motifs in constructivist art include minimal use of
colors (generally red, black, and white), and a strong
geometric element.
Advertising poster for the state airline Dobrolet. 1923. A.
Rodchenko and V. Stepanova Archive, Moscow
Klutsis, Gustav, Millions of qualifiedworkers for the 518 new factories, 1931
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De Stijl
De Stijl was a short, yet influential,movement launched in the
Netherlands in summer 1917.
De Stijl artists sought universal harmony
and order through the use of pure
abstraction. Subjects were reduced in
form and color.Characteristics of classic De Stijl design
include strong horizontal and vertical
components, and the use of primary
colors with black and white.
Proponents of De Stijl include its founder,
Theo van Doesburg and Piet
Mondrian.
Composition withYellow, Blue, andRed, 1939-1942,
Piet Mondrian
Arithmetische Compositie, 1924, Theo vanDoesburg
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BauhausAt the height of the
Modernist movementemerged one of the most
influential design schools
of all time, the Bauhaus.
The Bauhaus was opened in
1919 in Weimar, and
closed in 1933 as aresult of Nazi
persecution.
Even after its closing, the
Bauhaus continued to
leave its mark on the
world, through influences
on graphic design,architecture, and
furniture design.
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BauhausFaculty and students from all over the world
united at the Bauhaus to combine new
design approaches using elements from a
variety of movements.
Staatliches Bauhaus, Weimar, 19191923,1923, Walter Gropius
Bauhaus Ausstellung Poster, Fritz Schleifer, 1922
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Modernism in Furniture DesignModernist ideals became a pivotal influence in other areas of design as well.
These examples show how furniture reflected modernist principles.
Red and Blue Chair, GerritRietveld, 1917
Nonconformist Chair,Eileen Gray
The Barcelona Chair, Mies van der Rohe
The Barrel Chair, Frank LloydWright
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Modernism in
Architecture
These examples show modernisms influence
on early and present day architecture.
The Bauhaus Gropius House in
Lincoln, Massachusetts, WalterGropius
I.M. Pei, Architect -Herbert F. JohnsonMuseum of Art at
Cornell University
The Berlin HolocaustMemorial, Peter
Eisenman.
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Walter gropius
(1883-1969)
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More concerned with the social implications ofmachine construction.
Work must be established in palaces that give theworkman, now a slave to industrial labour, not onlylight, air and hygiene, but also an indication of thegreat common idea that drives everything. Only
then can the individual submit to the impersonalwithout losing the joy of working together for thatcommon good previously unattainable by a singleindividual.
Advocated an architecture of technicalrationalism; in this stage of his career he
believed thatthe machine can be
spiritualised by means of art.
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He opposed Mathesius (typifying) for his
legislative, totalising, bureaucratic approach
Like Behrens: nature and technology can
be transfigured by spirit (Geist)
According to Gropius, the spirit of
modern times was crystallized not inglass and iron construction like glass
palaces or bridges, which possessed no
architectural
qualities for him, but rather in those
anonymous
buildings, absolutelydetermined by
function, without any link to historical
architecture.
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THE GROPIUS HOUSE
68 Baker Bridge
Road,
LINCOLN,
MASSACHUSETTS.
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Gropiusproposed a truly modern
design, with a longrectangular shape for the
body of the housein a two-floor, upper and
lower layout. The shape
was quite simple andunadorned, with a
simple projecting entryway
with a long sloping roof offof the front of the house
and anexternal spiral staircase
leading the second floor.
The appearance of the house was
still decidedly European built on an asymmetrical plan with a flat roof and second-storyterrace; ribbon windows and extensive use of plate glass; and prominent use of
industrial
materials like steel columns, spiral iron staircase and glass block. With the sole
exception
of the stair rail, all of the fixtures and building supplies were factory-made items readily
available from catalogues and supply houses in this country.
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Gropius used his the
traditional modernist
language when
designing the house
but then he
responded to the
local building
materials seen in
New England.
The exterior of the house
was covered in white wood clapboards that were
commonly used throughout New
England, but he turned the clapboards vertically instead
of running them horizontally as
was typical.
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The second
floor terrace and screened in porch
invite the occupant to physicallyinteract with the
exterior environment.
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THE LIVING ROOM
KITCHEN
SPIRAL STAIRS TO FIRST
FLOOR
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BAUHAUS, DESSAU.1926
The ultimate end to all artistic activity is building.
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TOTAL AREA: 2630 sq. m
Concrete skeleton with brickworkBlock ceilings on bearers , mushroom floors for base storey.
accessible flat roofs covered
with solderedasphalt sheets on
torfoleum insulation layer
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Non- accessible flat roofs with cold-cut varnish on jutefabric on torfoleum insulation layer and levelling
concrete.
Drainage by cast-iron pipes inside the building with no
zincsheet.
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Outer skin cement rendering with keim silicatepaint.
All windows in double overlaid iron sections
glazed with plate glass.
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The first major structuresrealised in his dynamic
functionalmanner
The body of the school wasbroken into programmatic
elements; reassembled into
an open form
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Staircase
Auditorium
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Bauhaus furniture
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Bauhaus design steps for architects
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Bauhaus tea set
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Bauhaus fabric design
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Bauhaus lamp
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Bauhaus font