The Influence of Modern Art

The Influence of Modern Art• The first decades of the 20th were a time of social, political and

culture upheaval.

• The visual art and design series of creative revolutions that questioned long-held vales, as well as the role of art and design in society.

• form, color, and space, subject all focused around social protest and deeply personal emotional states.

• Cubism, Dada, surrealism, De Stijl, constructivism and expressionism all directly influenced the language and form of visual communications in graphic design.

CubismAnalytical cubism:• Between (1910-1912).• Practiced by Picasso and Braque, the analyzed the planes

of the subject matter, often from several points of view to construct a painting composed of rhythmic geometric planes.

• Simple, dark colours, overlapping layers, monochromatic colours.

• The real subject is shapes, colours, textures and values.

Synthetic cubism

• Between (1912-1920)

• Energetic, brighter colours, textures.

• Use coloured paper, newspapers.

Cubism

• Elements of ancient Iberian and African tribal art, sculpture, geometric planes, fabric and masks influenced the Cubist artists.

Cubism

pablo picasso• most notable of the cubist

artist.• painter, sculptor, printmaker,

ceramicist and stage designer.

• Figures abstracted into geometric planes and classical norms for the human face are broken.

Cubism

Georges Braque• a close associate of Picasso, Braque contributed

much to the cubist movement.• used the styles of Impressionism, introduced

paper collage into the artists work, creating texture and adding text that enhanced the visual form and reinforce the meaning or message of artwork.

Cubism

Fernand Léger

• born on February 4, 1881, in Argentan, France.

• took the geometric design aesthetic of the cubists a step farther by abstracting forms even more and assembling compositions of brightly colored geometric planes

Futurism Movement

• Italian poet, Filippo Marinetti.• A revolutionary movement to test their ideas

and forms against the new realities of scientific and industrial society.

Futurism Artist:

• Futurism launched by the Italian poet.

• Produced explosive and emotionally charged poetry that defied correct syntax grammar.

• Noise and speed, two dominant condition were expressed in futurist poetry.

Filippo Marinetti

Fernand Léger• 1919• Whirlwind tour of re-

creation of earth after the fall of man is illustrated by a pinwheel of lettering spelling.

Artwork

Dada movement• Claimed to be anti-art and had a strong

negative and destructive element.• Artists and writers were concerned with

shock, protest, and nonsense.

Hugo Ball

• (1886-1927) opened the Cabaret Voltaire in Zurich, Switzerland.

• Poet who wrote karawane, dada poem in 1917.

DADA

John Heartfield

• Born on June 19, in 1891, Berlin, Germany.

• German designer adopted this english name against German militarism

• Founding member of Dadaist movement.

• Used harsh photomontages to create posters.

DADA

Artwork:

Adolf the Superman

Political Art Poster Appeared

• It was a 1931 AIZ cover, a 1932 poster.

• Dove symbol of peace.

Cover for AIZ, a cerman news magazine, 1921-1933

Kurt Schwitters

• Born: June 20, 1887, Hanover, Germany.• Greated a nonpolitical offshoot of Dada that

he named Merz.• From 1923 on he worked as a commercial

artist.• Kurt Schwitters died in Ambleside

(Westmorland) on 8 January 1948.

An Anna Blume

• 1919.• Originally published in

Herwarth Walden's Der Sturm magazine.

Artwork

Surrealism Movement

• Paris 1924

• Poet Andre , founder of Surrealism.

• Apollinaire had used the expression "surreal drama" in reviewing a play in 1977.

André Breton

• born on February 18, 1896, in Tinchebray, France.

• founder of the Surrealist movement.

Salvadore Dali

Surrealism Artsit:

• Born: May 11, 1904, Figueres, Spain

• Most associated with the surrealist movement.

• Known for his weird and outlandish subject matter

• Influenced by the Renaissance masters.

The Persistence of Memory 1931• 1931• one of his most recognizable

works.• Described, “hand painted

dream photographs.”• The persistence of Memory

is Dali’s interpretation of Einstein’s theory that time is relative.

Soft Construction with Boiled Beans (Premonition of Civil War)

• Painted 1936.• represent the horrors of

the Spanish Civil War.

Max Ernst

• Born: April 2, 1891, Brühl, Germany.

• Use photography and illustration in his art.

• Create strange juxtapositions of image.

Surrealism Artsit:

Ubu Imperator

Painted 1923

Expressionism

• The tendency to depict not objective reality but subjective emotions and personal responses to subjects and events.

• Emerging as an organized movement in Germany before world War I.

• Woodcuts, lithographs, and posters were important media for many expressionists.

Line and color were often pronounced: color and value contrasts were intensified. Tactile properties were achieved through thick paint, loose brushworrk, and bold contour drawing.

Pictorial Modernism

• If the European poster of the twentieth century was in many ways a continuation of the 1890s poster, its course was nevertheless strongly affected in the second decade of the century by new modern-art movements and the communications needs a world war.

• Influenced by cubism and constructivism.• Cognizant of the need to maintained a pictorial reference if their posters were to

communicate persuasively with the general public.

Overview

• Flat-colour design school that emerged in Germany early in the twentieth century is called Plakatstil (Poster Style).

• 1898 – fifteen-year old Lucian Bernhard (1883-1972) attended the Munich Glaspalast Exhibition of Interior Decoration and was overwhelmed by what he saw.

• Bernhard – A privotal designer. His work might be considered the logical conclusion of the turn-of-the-century poster movement.

• Walls, ceilings, and even furniture traded drabness for a wonder land of brilliant color.

Plakatstil

• A German graphic designer, type designer, professor, interior designer, and artist

during the first half of the twentieth century. - He was born in Stuttgart, Germany, on March 15, 1883, as Emil Kahn to a Jewish family, but changed his name to his more commonly known as pseudonym in 1905.

Lucian Bernhard

• His first name is often spelled Lucien.

• German graphic designer, lithographer and commercial artist known for his contribution to the Sachplakat movement created by Lucian Bernhard.

• Work at the prestigious Hollerbaum und Schmidt art of printing company along with Edmund Edel, Hans Lindenstadt, Julius Klinger, Julius Gipkens, Paul Scheurich and Karl Schulpig make him one of the most important representatives of German poster art between 1906 and 1918.

Hans Rudi Erdt (1883-1918)

• He has also been recognized for his innovative use of typography in posters.

• An Austrian Painter, draftsman, illustrator, commercial graphic artist, typographer and writer.

• Studied at the Technologisches Gewerbemuseum. In Vienna.

Julius Klinger

• Born in Dornbach near Vienna.• 1895 – His first employment with the Vienna

fashion magazine Wiener Mode. He made acquaintance with Koloman Moser, who later would be his teacher: Moser recommended him to the Meggendorfer-Blatter.

• 1896 – He saw him moving to Munich where he worked as an illustrator for the Meggendorfer-Blatter and others.

Artwork

• 1897 to 1902 – He was a collaborator to the eponymous Jugendstill magazine Die Jugend.

• Switzerland – a land with three principal languages, poster designs was affected by German, French, and Italian cultures.

• 1908 – poster of Zermatt, Emil Cardinaux (1877-1936) created the first Sach plakat Swiss poster, sharing many characteristics with the Plakatstil in Germany.

• Even after modern production procedures such as offset printing began to be used in most poster production, traditional lithographic crafts were retained in what was known as Basel realism.

Switzerland and the Sach Plakat

• Born in November 11, 1877 in Bern.• Died in the same city on October 2, 1936, is a Swiss painter, specializing in

the advertising.• Although he was born in Bern, along with his family, the village of Vaud

Palezieux.• After completing his studies in his hometown, he moved to Munich in

1898 where he became a student at the academy.• He then travelled in several European countries with frequent returns to

his homeland, before settling permanently in Bern in 1911.

Emil Cardinaux

• In the early twentieth century, he created his first poster “modern” representing the Matterhorn and specializes in creating advertising posters or political.

• His first teacher in Basel was Burkard Mangold who heavily influenced his style.

• He learnt at the Kunstgewerbeschule in Basel and created his first Object Poster in 1922.

• Studied the modern graphic style in Munich and became heavily influenced by Ludwig Hohlwein or the Purist style of the great Swiss architect and designer Le Corbusier.

• He had a passion to design project posters in airbrush technique and printed in lithographic technique.

Niklaus Stoecklin (1896-1982)

• Desired to express the perfection of the Machine Age through a precise visual language, his knowledge of the airbrush technique – which at that time was a substitute for the up and coming photographic style for advertising consumer goods in the ‘30s and ‘40s.

• Ludwig Hohlwein (1874-1949) – a leading Plakatstil designer, began his career as a graphic illustrator with work commissioned by Jugend magazine as early as 1904.

• First half of the century – Hohlwein’s graphic art evolved with changing social conditions.

• The Beggarstaffs were his initial inspiration, and in the years before World War 1 Hohlwein took great delight in reducing his images to flat shapes.

• Hohlwein applied a rich range of texture and decorative pattern to his image.

The maverick from Munich

• In the posters that he designed during World War 1, Hohlwein began to combine his simple, powerful shapes with more naturallistic imagery.

• Born in 27 July 1874 in Wiesbaden and died in 15 September 1949 in Berchtesgaden.

• He was a German poster artist.• He was trained and practiced as an architect until 1906, when he switch to

poster design.• His adaptations of photographic images was based on a deep and intuitive

understanding of his graphical principles.• His creative use of colour and architectural compositions dispels any

suggestions that he uses photos as a substitute for creative design.

Lugwig Hohlwein

• Most drastically important phase was before the World War 2 in the years 1912-1925.

• A large variety of his best posters dates of the period.• Developed his own distinct style with sharply defined form, bright colours and a

good portion by humour.• 1925 – Already designed 3000 different advertisements.

Artwork

A New Language of form

Russian supremation and constructivism

• Russian artists were using cubism and futurism influences in their designs.

• Rejected the idea of “art for art’s sake”

• WW1 were subject of much artwork.

Suprematism

• Artwork consisted of basic forms, pure colours.

• Founded by Kasimir Malevich (1878–1935).

Constructivism

based on industrial design, visual communications and serving the communist society.

El Lissitzky

• November 23, 1890

• best portrayed the constructivist ideal.

• photomontage, printmaking, graphic design, and painting.

Beat the whites with the Red Wedge

• Painted 1919.

• Space is dynamically divided into white and black areas.

Artwork

BOOK COVER DESIGN

El Lissitzky

• Exhibition poster, 1929

• Stark, powerful, showing equal positioning of female and male faces.

Kasimir Malevich

• Russian painter and art theoretician.

• Painting style of basic forms and pure color , called “suprematis”.

• Created an elemental geometric abstraction .

suprematist composition

• In 1915

• construction of concrete element of colour and shape.

Artwork

Alexander Rodchenko

• Russian artist, Experimented with typography, photography and montage.

• Known for his photography and use of heavy sans serif hand-drawing lettering.

constructivist poster style

• Used a variety of material, like wood, nylon, tin etc. to glue together .

• Layout had diagonal force with typography.

De Stijl

• an Influential movement in art, architecture, and design founded in 1917 in the Netherlands.

• its name from a magazine

• Sought universal laws of balance and harmony.

• reduced elements to primary colours and eliminated curved or diagonal lines.

Piet Mondrian• Born: March 7,

1872, Amersfoort, Netherlands

• Eliminated all representational elements and moved toward a pure.

Theo Van Doesburg

• Born: August 30, 1883, Utrecht, Netherlands

• Founder of the De Stijl movement.

• Like modrian reduced visual imagery to basic shapes and colors.

• In 1922

• Type is asymmetrically balanced.

• De Stijl is combined with the letter N and B.

Cover for De Stijl

bart van der leck

• Born: November 26, 1876, Utrecht, Netherlands.

• painter, designer, and ceramacist.

Exhibition poster

• Shown an open composition of visual horizontal and implied vertical lines.

• Primary colours.

Henryk Berlwei

• Born: October 20, 1894, Warsaw, Poland.

• Putos Chocolates brochure, 1925.

• Copywiter aleksander wat colsely collaborated with Berlewi to integrate text and form.

The Bauhaus&

The New TypographyChapter 16

• BAUHAUS is a movement

• Walter Gropius, a German architect was named the director of a new design school ultimately named the Bauhaus on April 12, 1919.

• Purpose is to unite art and technology to form a new world order.

• Gropius sought a new unity of art and technology by collaborating with a generation of artists with a similar philosophy.

• First exhibition in 1923 -"art and technology:a New Unity!"

• After World War 1, yet Germany gov disliked Bauhaus.

• Change in politics and financial pressure , school force closing in 1925

• School shifted to Dessau & funds provided to build new a new school, and force to close again and moved to berlin and force to close again by nazi. Last the bauhaus school moved to Chicago until now.

• Bauhaus principles:• FORM FOLLOWS FUNCTION• ORNAMENT IS A CRIME• LESS IS MORE• UNITY OF THE ARTS & CRAFTS• DESIGN FOR THE FUTURE

Joost Schmidt 1923

Swinging , 1925, Oil on board

Wassily Kandinsky (Russian, 1866-1944)

- Pioneer of pure abstraction- experiments seeking out the expressivity of the basic shape, line, colour, patterns composition, rhythm

Funkturm (radio tower)Berlin, 1926

Laszlo Moholy-Nagy (Hungarian, 1895-1946)

-Use of new technology-Experimenting with the possibilities of new technology, i.e can photography create abstractions ?

‘Everyone is equal before the machine. I can use it, so can you.’

Laci and Lucia, 1925

Hands and Paintbrush 1926

Marcel Breuer (American, born Hungary, 1902–1981)

"Wassily" chair, 1925 Nesting Tables (model B9). 1925-26

Bauhaus journal (1928)

Herbert Bayer (Austrian, 1900-1985)

Herbert Bayer turned into a teacher at the Bauhaus in the typography and visual communication offices

Sans-serif fonts were used nearly exclusively by Bayer

1925 experimental universal typeface

Bayer also designed a font namedafter the school, Bauhaus.

Jan Tschichold

he was a solid pioneer in the "new typography," He argue that type should be set in motion rather than “at rest” on a horizontal plane.

The essence of the new typography was clarity, notjust beauty; its objective was to develop form fromthe functions of the text.

The Modern Movementin America

Chapter 17

• Modern European design did not turn into a critical impact until well into the 1930s.

• American typographers after Jan Tschichold’s Typography insert recognizing the functionality of his new ideas.

• Futura and Kabel

untitled, 1936

Walker Evans

Atlantaphotographcontrasting decayinghomes andDepression-era movieposters documents achasm betweenreality and graphicfantasy

Lester Beall

Rural ElectrificationAdministration, c. 1937

advantages of power were introduced through signs reasonable to uneducated and semiliterate audiences.

Rural ElectrificationAdministration, c. 1937

Lester Beall grabbed onto tschichold ideas and made its way to America, many designer start to do that also.

Tschichold's new typography and joined it with the Dadaism

Joseph Binder

New YorkWorld’s Fair, 1939

America’s embrace ofmodernism, technology,and global power

Austrian-born designer whose impact penetrated Europe and the United States.

recruiting poster for theU. S. Navy, c. 1954

advertisement for CCA,1943

Herbert Matter

Herbert Matter

Herbert Matter

Photographed many ofthe layouts for theKnoll Furniturecompany in the 1950s

Alexey Brodovitch

white spacewith crisp type on clearopen pages.

Director of Harper’sBazaar from 1934-1958

Alexey BrodovitchRussian designer who immigrated to Paris after WWI

cover for Portfolio,1951

screen tints deliver the dream that translucent rectangles of adre'd blue-dim have been put on the stencil logo slicing down the back cover

A large portion immigrants who brought European outline ideas to the United States equipped with ability, thoughts and a solid faith in plan as a significant human action that could add to the change of human correspondence and the human condition. The American exprience was significantly improved by their nearness.

• Lester Beall• Erté• Alexey Brodovitch• Herbert Bayer• Herbert Matter• Richard Avedon• Irving Penn

Intel

• the computer chip maker.• called the new version of its Pentium

processor• launched in May 1997 the Pentium II.

design samples

CLOCKING THE FOURS

• This classic clock face shows the attraction of this theory. With the thick descending strokes and thin ascenders used in this 19th century French enamel face, the IIII and the VIII do balance each other well. But there are problems with this explanation. Although the IIII balances the VIII, the V does not balance the VII, nor the I the XI.

cases for the copyright date

• films, television programmes, and videos.• example MCMLXXXVI• BBC site, MMV.

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