chapter 11 & 12

In his teaching and writings, Belgian designer Henri van de Velde became a vital source for the development of twentieth-century architecture and design theory. He taught that all branches of art share a common language of form and are of equal importance to the human community. He demanded __________. He saw ornament not as decoration but as a means of expression that could achieve the status of art.

A. appropriate materials, functional forms, and a unity of visual organization

While German Jugendstil shared common characteristics with French and English art nouveau, one distinction was that it reflected the German interest in ____________, as can be seen in the blending of contradictory influences in Eckmannschrift by Otto Eckmann.

A. medieval letters

Three schools that were influential in the evolution of graphic design and design education were introduced in Chapter 12. Which one does not belong? ________

B. The Bauhaus in Germany

In Japan, ukiyo-e practitioners were considered mere artisans, but they captivated European artists, who drew inspiration from their calligraphic line drawing, abstraction and simplification, flat color and silhouettes, unconventional use of black shapes, and decorative patterns.

True

Italian turn-of-the-century posters were characterized by sensuous exuberance and elegance like that of France's La Belle Époque.

True

Jugend, an art nouveau-style magazine popular in Germany, allowed each week's cover designer to design a different logotype to match his or her own illustration.

True

Financed by industrialist Fritz Wändorfer, the _____________ was an outgrowth of Sezessionstil and sought a close union of the fine and applied arts in the design of lamps, fabrics, books, greeting cards, and other printed matter. The goal was to offer an alternative to poorly designed, mass-produced articles and trite historicism. Decoration was used only when it served these goals.

A. Wiener Werkstätte (Vienna Workshops)

____________ is a sans-serif typeface designed by the Berthold Foundry. Ten variations were designed: four weights plus three expanded and three condensed versions, which allowed compositors to achieve contrast and emphasis within one family of typefaces. This was a major step in the evolution of the unified and systemized type family.

B. Akzidenz Grotesque

On Christmas Eve 1894, the young Czech artist Alphonse Mucha was at the Lemercier's printing company correcting proofs for a friend when the printing firm's manager burst into the room, upset because the famous actress Sarah Bernhardt was demanding a new poster for the play Gismonda by New Year's Day. Mucha was the only artist available, so he received the commission. He used the basic pose from an earlier poster of Bernhardt in Joan of Arc that had been done by __________.

B. Eugène Grasset

During the final years of the nineteenth century, American architect ____________ was becoming known to European artists and designers not only for his architecture, but for his design interests in furniture, fabrics, wallpapers, and stained-glass windows. He rejected historicism and saw space as the essence of design. His repetition of rectangular zones and use of asymmetrical spatial organization were adopted by other designers.

B. Frank Lloyd Wright

One of Dutch designer Jan Toorop's biggest sources of inspiration was ___________, which can be seen especially in his use of silhouette, his linear style, and the forms, expressions, and hair styles of his female figures.

B. Javanese culture

There is an affinity between the posters and prints of Théophile-Alexandre Steinlen and his friend and sometime rival, Henri de Toulouse-Lautrec. Steinlen's first commissions were drawings for _____________. He had a mania for cats and during the 1880s and 1890s became a prolific illustrator. His radical political views, socialist affiliations, and anticlerical stance led him toward asocial realism, and he chose to depict poverty, exploitation, and the working class.

B. Le Chat Noir

The German artist, architect, and designer ____________ played a major role in charting a course for design in the first decade of the twentieth century. He sought typographic reform and was an early advocate of sans-serif typography. The German typographic historian Hans Loubier believed this booklet may represent the first use of sans-serif type as running book text. His work pushed twentieth-century design toward rational geometry as an underlying system for visual organization. He introduced the concept of Gesamkultur (total design) to industry with the first comprehensive visual identification system that included graphic design, architecture, and product design.

B. Peter Behrens

Upon viewing Aubrey Beardsley's illustrations in a new edition of Thomas Malory's Morte d'Arthur, ____________ was so angry that he considered legal action, he believed Beardsley had vulgarized ideas of Kelmscott style by replacing, naturalistic borders with more stylized, flat patterns.

B. William Morris

A member of the Flemish Group of Twenty, Henri van de Velde had enormous influence on design and architecture. His only poster design was for Tropon, ____________, for which he created labeling and advertisements in 1899. Rather than communicating information about the product or depicting people using it, van de Velde engaged the viewer with symbolic form and color.

B. a concentrated food supplement

Jules Chéret, the father of the modern poster, featured beautiful young women in his posters. At a time when options for women were limited, these self-assured, happy women were depicted enjoying life to the fullest, wearing low-cut dresses, dancing, drinking wine, and even smoking in public. Dubbed ___________, these female archetypes became the new role model for women in the late Victorian period.

C. Chérettes

In 1916, dissatisfaction with typography on Underground materials prompted Frank Pick to commission the eminent calligrapher __________ to design an exclusive, patented typeface for the world's first underground electric railway system, which had opened in London in 1890. The O is a perfect circle. All of the letters have a similar elemental design. The lowercase I has a tail to avoid confusion with the uppercase I.

C. Edward Johnston

Among those who drew inspiration from the Glasgow School were ______________, whose medieval-style fantasy illustrations accompanied by stylized lettering influenced fiction illustration throughout the twentieth century, and _____________, who became the art director of the Glasgow publishing firm Blackie's, which provided a forum for applying the geometric spatial division and lyrical organic forms of the Glasgow group to mass communication.

C. Jessie Marion King and Talwin Morris

As the nineteenth century drew to a close and the twentieth century began, designers across the disciplines of architectural, fashion, graphic, and product design searched for new forms of expression. Technological and industrial advances fed these concerns. The artists and designers discussed in Chapter 12 moved away from the floral and curvilinear elements of art nouveau toward a more____________ style of composition.

C. geometric

During an 1895 visit to the Boston Public Library, Will Bradley studied the collection of small, crudely printed books from colonial New England called chapbooks. These inspired a new direction in graphic design that became known as the chapbook style. All of the following traits except one apply. Which does NOT apply? _______________

C. yellow covers

Although art nouveau artists did not use a historicist approach to their designs, they were influenced by past as well as contemporary art. All but one of the examples below were influences on art nouveau. Which does NOT belong? _____________

D. Assyrian motifs

In 1894, Oscar Wilde's Salomé received widespread notoriety for the obvious erotic sensuality of __________'s illustrations. Late-Victorian English society was shocked by the celebration of evil, which reached its peak in an edition of Aristophanes's Lysistrata. Banned by English censors, it was widely circulated on the Continent.

D. Aubrey Beardsley

The new art had different names in different countries. Which of the following was NOT one of them? _____________

D. Surimono

"The Studio" and its reproductions of work by Aubrey Beardsley and Jan Toorop had a strong influence on a young group of Scottish artists who became friends at the Glasgow School of Art. The students began to collaborate and were soon christened _____________. The rising verticality and integration of flowing curves with a rectangular structure are hallmarks of their mature works, as shown here in Margaret Macdonald's 1896 bookplate design (Fig. 12-2).

D. The Four

Katsushika Hokusai apprenticed as a woodblock engraver before turning to drawing and painting. During seven decades of artistic creation, he produced an estimated thirty-five thousand works that spanned the gamut of ukiyo-e subjects, including album prints, genre scenes, historical events, illustrations for novels, landscape series, nature studies, and privately commissioned prints for special occasions called surimono. He is perhaps best known for _______________, his series of prints that depicts the external appearances of nature and symbolically interpret the vital energy forces found in the sea, winds, and clouds surrounding Japan's famous twelve-thousand-foot volcano.

D. Thirty-six Views of Mount Fuji

The most beautiful of the turn-of-the-century magazines was the Vienna Secession's elegant _____________, published from 1898 until 1903. A continuously changing editorial staff, design responsibility handled by a rotating committee of artists, and unpaid contributions of art and design were all focused on experimentation and graphic excellence. The publication was more of a design laboratory than a magazine and enabled designers to experiment with innovative graphics as they explored the merger of text, illustration, and ornament into a lively unity.

D. Ver Sacrum

The Dutch book design style of Nieuwe Kunst spanned roughly the fourteen years between 1892 through 1906. After 1895, mathematics was seen as a creative source in itself, with symmetry and rationalism each playing a part. Some of the special qualities of the movement's book design are described below. Which one doe NOT apply? ____________

D. illustrative

Many trademarks of art nouveau origin have been in continuous use since the 1890s, such as those of General Electric and Insel-Verlag, both of which are characterized by __________.

D. swirling organic lines

Art nouveau was first seen in America on Harper's magazine covers illustrated by Will Bradley, one of the two major American practitioners of art nouveau-inspired graphic design and illustration.

False

Eckmannschrift, designed by Otto Eckmann, attempted to revitalize typography by combining fraktura with modern type.

False

Ethel Reed became the first woman in England to achieve national prominence for her work as a graphic designer and illustrator.

False

Eugène Grasset, like his rival Jules Chéret, incorporated exuberant women in his poster illustrations.

False

Henri van de Velde's works are early examples of the modernist integration of form and function; their forms communicated their uses objectively and clearly.

False

The coloring book style of Aubrey Beardsley used a thick black contour drawing to lock forms into flat areas of color in a manner similar to medieval stained-glass windows.

False

The late-nineteenth-century Western mania for all things Japanese is called japanned ware.

False

Ukiyo-e refers to an art movement beginning in the seventeenth century and ending in the nineteenth century, a time period when Japan actively sought trade with Western European countries.

False

Although Charles Ricketts's page designs were influenced somewhat by William Morris, his work tended to be much lighter, more open, and geometric.

True

Beginning in 1894, Will Bradley's work for the Inland Printer and the Chap Book ignited art nouveau in America.

True

Dutch architect J. L. Mathieu Lauweriks, who was fascinated with geometric form, developed grids that began with a square circumscribed around a circle and made numerous permutations by subdividing and duplicating this basic structure.

True

Henri de Toulouse-Lautrec developed a journalistic, illustrative style that captured the nightlife of La Belle Époque ("The Beautiful Era")—a term used to describe late-nineteenth-century Paris.

True

Jugendstil artist Otto Eckmann abandoned painting in order to turn his full attention to the applied arts.

True

The Berthold Foundry designed a family of ten sans-serif typefaces that were variations on one original font, Akzidenz Grotesk (called Standard in the United States). This marked a major step in the evolution of the unified and systematized type family and had a major influence on twentieth-century typography.

True

The Netherlands' relationship with the Dutch East Indies (Indonesia) allowed Dutch designers to access the traditional craft of batik. Its introduction as a contemporary design medium was one of Holland's important contributions to the international art nouveau movement.

True

Unlike contemporary literary artists, visual artists working in the art nouveau style rejected realism in favor of the metaphysical and the sensuous.

True

During Japan's Tokugawa period, the country adopted an official policy of national seclusion. This was a time of economic expansion, internal stability, and flourishing cultural arts. The entertainment districts of major cities were called "the floating world," and became the focus of inspiration for many artists. The earliest Japanese ukiyo-e ("pictures of the floating world") were __________ depicting these entertainment districts of urban Japan.

screen paintings