Unit 4 (chapter 13) History of Graphic Design
Giorgio de Chirico,
Breton and his friends speculated about the possibility of surreal painting. They discovered the work of _______ ___ _________ and declared him the first surrealist painter. Giorgio de Chirico 1) member of the short-lived Italian metaphysical school of painting 2) painted hauntingly empty spaces that possess an intense melancholy (Fig. 13-44). Vacant buildings, harsh shadows, deeply tilted perspective, and enigmatic images convey emotions far removed from ordinary experience.
Simultaneity
Expresses concurrent or occurrence, such as the presentation of different views in the same work of art... fusion of poetry and painting -Introduced by Guillaume Apollinaire word used to express concurrent existence or occurrence, such as the presentation of different views in the same work of art
Futurism, Filippo Marinetti, parole in libertà
Futurism __________ was launched when the Italian poet ________ ________ (1876-1944) published his Manifesto of Futurism in the Paris Newspaper Le Figaro on February 20, 1909. 1) Marinetti's stirring words established futurism as a revolutionary movement in which all the arts were to test their ideas and forms against the new realities of scientific and industrial society "We intend to sing the love of danger, the habit of energy and fearlessness. Courage, audacity, and revolt will be essential elements of our poetry. ... We affirm that the world's magnificence has been enriched by a new beauty: the beauty of speed ... a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace. ... Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece." The manifesto voiced enthusiasm for war, the machine age, speed, and modern life. It shocked the public by proclaiming, "We will destroy museums, libraries, and fight against moral ism, feminism, and all utilitarian cowardice." Marinetti and his followers produced an explosive and emotionally charged poetry that defied correct syntax and grammar. In January 1913, Giovanni Papini began publication of the journal Lacerba in Florence, and typographic design was pulled onto the artistic battlefield. The June 1913 issue published Marinetti's article calling for a typographic revolution against the classical tradition. 1) Harmony was rejected as a design quality because it contradicted "the leaps and bursts of style running through the page" (Fig. 13-8). 2) On a page, 3 or 4 ink colors and 20 typefaces (italics for quick impressions, boldface for violent noises and sounds) could redouble words' expressive power. Free, dynamic, and piercing words could be given the velocity of stars, clouds, airplanes, trains, waves, explosives, molecule and atoms. A new and painterly typographic design, called ______ ___ _______ or "words in freedom," was born on the page (Figs. 13-9 through 13-15) (Fog. 13.14). Noise and speed, two dominant conditions of twentieth-century life, were expressed in futurist poetry. 1) Marinetti wrote that a man who has witnessed an explosion does not stop to connect his sentences grammatically but hurls shrieks and words at his listeners. 2) He urged poets to liberate themselves from servitude to grammar and open new worlds of expression. Since Gutenberg's invention of movable type, most graphic designs used a vigorous horizontal and vertical structure, but the futurist poets cast these constraints to the wind. 3) Freed from tradition, they animated their pages with a dynamic, nonlinear composition achieved by pasting words and letters in place for reproduction from photoengraved printing plates.
a
Modern art 20th c graphic design closely relates to painting, architecture, poetry 1870 to 1910: Western witness more progress technologically that in previous 4 centuries. -photography, cinematography, sound recording, telephone, motorcar, airplane,
a
The Influence of Modern Art: The first two decades of the twentieth century were a time of ferment and change that radically altered all aspects human condition. The social, political, cultural, and economics character of life was caught in fluid upheaval. In Europe Monarchy was replaced by democracy, socialism, and communism Technology and scientific advances transformed commerce and industry, Transportation was radically altered by the coming of the motorcar (1885) and the airplane (1903). The motion picture (1896) and wireless radio transmission (1895 foretold a new era of human communications. Beginning in 1908, with the Turkish revolution that restored constitutional government and the Bulgarian Declaration of Independence, colonized and subjugated peoples began to awaken and demand independence. The slaughter during the first of two global wars, fought with the destructive weapons of technology, shook the traditions and institutions of Western civilization to their foundations. Amidst this turbulence, it is not surprising that visual art and design experienced a series of creative revolutions that questioned long-held values and approaches to organizing space as well as the role of art and design in society. The traditional objective view of the world was shattered. The representation of external appearances did not fulfill the needs and vision of the emerging European avant-garde. Elemental ideas about color and form, social protest, and the expression of Freudian theories and deeply personal emotional states occupied many artists. Some of these modern movements, such as fauvism, had a limited effect on graphic design. Others, such as cubism and futurism, Dada and surrealism, De Stijl, suprematism, constructivism, and expressionism, directly influenced the graphic language of form and visual communications in this century. The evolution of twentieth-century graphic design closely relates to modern painting, poetry, and architecture.
pattern poetry, simultaneity
The futurist concept that writing and/or typography could become a concrete and expressive visual form has been a sporadic preoccupation of poets dating back at least to the work of the Greek poet Simias of Rhodes (c. 33 BCE). Called ______ _______, the verse that explored this idea often took the shape of objects or religious symbols. In the nineteenth century, the German poet Arno Holz (1863-1929) reinforced intended auditory effects by such devices as omitting capitalization and punctuation, varying word spacing to signify pauses, and using multiple punctuation marks for emphasis. Lewis Carroll's Alice's Adventures in Wonderland used descending type sizes and pictorial shape to construct a mouse's tail as part of the mouse's tale (Fig. 13-16). In 1897 the French symbolist poet Stéphane Mallarmé (1842-98) published the poem "Un coup de dés" (A Throw of the Dice) (Fig. 13-17), composed of 700 words on 20 pages in a typographic range: capital, lowercase, roman, and italic. Rather than surrounding a poem with white, empty margins, Mallarmé dispersed this "silence" through the work as part of its meaning. Instead of stringing words in linear sequence like beads, he placed them in unexpected positions on the page to express sensations and evoke ideas. Moreover, he was successful in relating typography to the musical score-the placement and weight of words relate to intonation, stress, and rhythm in oral reading. Another French poet, Guillaume Apollinaire (1880-1918), was closely associated with the cubists, particularly Picasso, and was involved in a rivalry with Marinetti. Apollinaire had championed African sculpture, defined the principles of cubist painting and literature, and once observed that "catalogs, posters, advertisements of all types, believe me, they contain the poetry of our epoch." His unique contribution to graphic design was the 1918 publication of a book entitled Calligrammes, poems in which the letterforms are arranged to form a visual design, figure, or pictograph (Figs. 13-18 and 13-19). In these poems he explored the potential fusion of poetry and painting, introducing the concept of __________ to the time-and sequence-bound typography of the printed page.
Photomontage
The technique of manipulating found photographic images to create jarring juxtapositions and chance associations... Hannah Hoch created outstanding work in the medium The process of combining parts of various photographs in one photograph.
Collage
____- overlapping various media; and including words, graphics and patterns, to achieve a desired thematic result. Pablo picasso allowed free composition independent of subject matter and declared the reality of the painting as two-dimentional object
Marcel Duchamp
______- Duchamp "Nude Descending a Staircase" Woman Descending Steps by Eadweard Muybridge Bedfordshire" urinal. Duchamp selected a "Bedfordshire" model porcelain urinal. On returning to his studio he turned it through 90 degrees, so that it rested on its back, signed it, "R. MUTT 1917", and entitled this new work Fountain. Thus was begun the existence of one of the most influential art works of the 20th century. Fountain will be a crucial item in the forthcoming exhibition, Duchamp, Man Ray, Picabia, at Tate Modern. Or at least a replica of it will, because one of the most piquant aspects of the history of this celebrated object is that the original was seen by only a handful of people, never publicly exhibited, and vanished shortly after that selection, signing and christening in 1917. This image is the only remaining record of the original object. It was reproduced with an anonymous manifesto the following May in an avant-garde magazine called The Blind Man. The accompanying text made a claim crucial to much later modern art: "Whether Mr Mutt made the fountain with his own hands or not has no importance. He CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view - created a new thought for that object." It was this publication as much as the initial scandal which made Fountain famous. And what happened to the original? The best guess, according to Calvin Tomkins in his biography of Duchamp, is that it was thrown out as rubbish by Stieglitz shortly afterwards (a common fate of Duchamp's early ready-mades). By a delicious irony that the artist must have enjoyed, all the versions of Fountain now extant - including the one in the Tate show - are not ready-made at all, but carefully crafted hand-made facsimiles of that "Bedfordshire" urinal. American Dada: not manifesto rather it was humor/irony Ready made: everyday objects declared as art by merely putting them in a museum 13.27: urinal, ready made
Kurt Schwitters
______- Schwitters asked to join Berlin Dada (so the story goes) either in late 1918 or early 1919, according to the memoirs of Raoul Hausmann.[13] Hausmann claimed that Richard Huelsenbeck rejected the application because of Schwitters' links to Der Sturm and to Expressionism in general, which were seen by the Dadaists as hopelessly romantic and obsessed with aesthetics. Schwitters published a periodical, also called Merz, between 1923-32, in which each issue was devoted to a central theme. Merz 5 1923, for instance, was a portfolio of prints by Hans Arp, Merz 8/9, 1924, was edited and typeset by El Lissitsky, Merz 14/15, 1925, was a typographical children's story entitled The Scarecrow by Schwitters, Kätte Steinitz and Theo van Doesburg. The last edition, Merz 24, 1932, was a complete transcription of the final draft of the Ursonate, with typography by Jan Tschichold. His work in this period became increasingly Modernist in spirit, with far less overtly political context and a cleaner style, in keeping with contemporary work by Hans Arp and Piet Mondrian. His friendship around this time with El Lissitzky proved particularly influential, and Merz pictures in this period show the direct influence of Constructivism. Schwitters' art was more than just the collage object itself. It was a whole process, philosophy, and lifestyle, which he called Merz —a nonsense word that became his kind of personal brand. The story goes that Schwitters made up the term by cutting a scrap from the second syllable of the German word "Kommerz" (commerce), which he included in one of his early collage paintings. He was a merz-artist who made merz-paintings and merz-drawings, and naturally, the place where he merzed—his studio and family home—was his merz-building, or Merzbau. Over the years, this Merzbau developed into a kind of abstract walk-in collage composed of grottoes and columns and found objects, ever-shifting and ever-expanding. It was more than just a studio; it was itself a work of art. Schwitters worked on the Hanover Merzbau from around 1923 until 1937, when he fled to Norway to escape the threat of Nazi Germany. Sadly, in 1943, while he was in exile, it was destroyed in an Allied bombing raid. The original Merzbau was gone forever. Wilhelm Redemann took three black-and-white photographs of the Merzbau's main room, one of which you can see here. the Merzbau was not just a static painting or a sculpture, but a whole environment, and one that was in constant flux. One day the Merzbau could have a new column of debris stacked in the corner, the next day a new grotto dedicated to an artist friend. Photographs can't quite capture the Merzbau's expanding and shifting nature. German artist and painter dada, surrealism, poetry, constructive, sound, graphic design, etc well known for his collages Made his own movement of dada called merz: one man 12.30: merz
Tristan Tzara
__________ Known as Dada's guiding spirit... edited the peridoical DADA... explored sound, nonsense, and chance poetry... wrote a steady stream of Dada manifestos and contributed to all major Dada publications and events leader of Dada movement sought to shock the public and destroy the structures of language.
Der Blaue Reiter
define art without subject matter but perceptional properties that were able to convey feelings German early expressionist group... redefined art as an object without subject matter, but with perceptual properties that were able to convey feelings Blue Rider a German group who believed in charging form and color with a purely spiritual meaning eliminating all resemblance to the physical world (Wassily Kandinsky, Franz Marc)
Giorgio de Chirico
surrealist Declared as the first surrealist painter... painted hauntingly empty spaces that possess an intense melancholy. Vacant buildings, harsh shadows, deeply tilted perspective, and enigmatic images convey emotions far removed from ordinary experience
Jean (Hans) Arp
Artist who worked with Tzara and Ball in exploring sound, nonsense, and chance poetry joined Hugo BALL, Tristan TZARA, and Richard HUELSENBECK in exploring sound poetry, nonsense poetry, and chance poetry. Worked with Joan DE MIRO As early as 1916, ___ explored chance and unplanned harmonies in works such as *Squares Arranged According to the Laws of Chance*.
Juan Gris
A major painter in the development of synthetic cubism... had a profound influence on the development of geometric art and design... his paintings are a kind of halfway house between and art based on perception and an art realized by the relationships between geometric planes... combined composition from nature with an independent structural design of the picture space -1887-1927 -Spanish sculptor & painter -Designed costumes and ballet sets -Cubist -Formalist paintings -Bright harmonious colors in daring combinations
a
Another photographer who extended his vision into the realm of pure form was Alvin Langdon Coburn. 1) By 1913 his photographs of rooftops and views from tall buildings focused on the pattern and structure found in the world instead of depicting objects and things (Fig. 13-53). 2) Coburn's kaleidoscope patterns, which he called vortographs when the series began in 1917, are early nonobjective photographic images. 3) Coburn praised the beautiful design seen through a microscope, explored multiple exposure, and used prisms to split images into fragments.
a
Photography and the modern movement: It was inevitable that the new visual language of the modern movements, with its concern for point, line, plane, shape, and texture, and for the relationships between these visual elements, would begin to influence photography, just as it had affected typography in the futurist and Dadaist approaches to graphic design. American photographer Francis Bruguière began to explore multiple exposures in 1912, pioneering the potential of light recorded on film as a medium for poetic expression. In his photographic abstractions, the play of light and shadow becomes the subject (13-52).
Pablo Picasso
Started the genesis of cubism... applied elements of ancient Iberian and African tribal art to the human figure a Spanish artist, founder of Cubism, which focused on geometric shapes and overlapping planes
Die Brücke
Subjects: represent own feeling German early expressionist group... artist declared their independence in transforming their subject matter until it conveyed their own unexpressed feelings 20th C. meant to shock: contorted figures, screaming color, and outrageous themes.
Merz
Title of one-man art movement...pictures were collage compositions using printed ephemera, rubbish, and found materials to compose color against color, form against form, and texture against texture Nonsense word invented by the German Dada artist Kurt Schwitters to describe his collage and assemblage works based on scavenged scrap materials. He founded this one man Dada group, Hanover,1919.
Rayographs
What Man Ray called his cameraless prints Made by placing objects on light-sensitive paper and exposing them to sunlight. Not really photographs. No camera or lenses.
Expressionism
____- originate in Germany with people like Kathe Kollwitz Account of human condition The tendency to depict not objective reality but subjective emotions and personal responses to subjects and events... color, drawing, and proportion were often exaggerated or distorted, and symbolic consent was very important Word expressionism comes from marks they made in creating art image
Artist's book
_______- DEPERO FUTURISTA could be looked at as the first Artist's Book. a book that is published by an artist as creative expression, independent of printing establishment. a book produced by an artist, usually an expensive limited edition, often using specialized printing processes
Surrealism
_______- roots in dada, searching for more real world behind the real world: world of dreams, unconscious realm "More real than real world behind the real"... the world of intuition, dreams and the unconscious realm explored by Freud -Founder: Andre Breton -Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, all aesthetic or moral preoccupation -"super reality"... professed a poetic faith in man and his spirit a 20th-century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images. an artistic movement emphasizing the imagination and characterized by incongruous juxtapositions and lack of conscious control An artistic movement that displayed vivid dream worlds and fantastic unreal images
Futurism
_________- An artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth and violence and objects such as the car, the airplane and the industrial city. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture and even gastronomy. It glorified modernity and aimed to liberate Italy from the weight of its past. Cubism contributed to the formation of Italian Futurism's artistic style. To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, and Dada. Italian Cubism established by Filippo Marinetti - art can be nothing but violence, cruelty, and injustice Had adopted anarchist and fascist elements Rejection of the past, celebration of the machinery, violence, youth, and industry Noise and speed expressed in poetry An early-20th-century Italian art movement that championed war as a cleansing agent and that celebrated the speed and dynamism of modern technology. 1910.A movement in modern art that grew out of cubism. Artists used implied motion by shifting planes and having multiple viewpoints of the subject. They strived to show mechanical as well as natural motion and speed. The beginning of the machine age is what inspired these artists. Frank Stella and Giacomo Balla were futurists. launched by Filippo Marinetti, expressed noise and speed
Fortunato Depero, artist's book,
Among the artists who applied futurist philosophy to graphic and advertising design, ______________ (1892-1960) produced a dynamic body of work in poster (13-22), typographic, and advertising design. 1) This painter shifted from social realism and symbolism to futurism in 1913 after seeing a copy of the futurist paper Lacerba. 2) 1927 he published his Depero futurista (Figs. 13-23 and 13-24), a compilation of his typographical experiments, advertisements, tapestry designs, and other works. 3) Depero futurista is a precursor of the _______ ______, published by an artist as a creative expression independent of the publishing establishment. From September 1928 until October 1930, Depero worked in New York and designed covers for magazines such as Vanity Fair, Movie Makers, and Sparks, as well as print advertising. Although limited to a sophisticated and cosmopolitan audience, the appearance of his futurist work in American graphic communications proved somewhat influential in America's movement toward modernism. Futurism became a major influence on other art movements, and its violent, revolution dry techniques were adopted by the Dadaists, constructivists, and De Stijl. The futurists initiated the publication of manifestos, typographic experimentation, and publicity stunts (on 8 July 1910, 800,000 copies of Marinetti's leaflet Against Past-Loving Venice were dropped from a clock tower onto Venice crowds), forcing poets and graphic designers to rethink the very nature of the typographic word and its meaning.
Fernand Léger
Among the artists who clustered around Picasso and Braque and joined the cubist movement, ________ ________ (1881-1955) moved cubism away from the initial impulses of its founders. From around 1910, Léger took Cézanne's famous dictum about the cylinder, sphere, and the cone far more seriously than any other cubist. Motifs like nudes in a forest were transformed into fields of colorful stovepipe sections littering the picture plane. 1) Léger's work might have evolved toward an art of pure color and shape relationships, but his 4 years of military service among working-class French citizens and the heightening of his visual perception during the war turned him toward a style that was more recognizable, accessible, and populist. 2) He moved closer to his visual experience in paintings like The City (13-5). Perceptions of the colors, shapes, posters, and architecture of the urban environment-glimpses and fragments of information-are assembled into a composition of brightly colored planes. The letterforms in Léger's paintings and graphic work for Blaise Cendrars's book La fin du monde, filmée par l'Ange Notre-Dame (The End of the World, filmed by the Angel of Notre-Dame) 1) an antiwar book describing God's decision to destroy life on earth due to humans' warlike nature (13-6 and 13-7) 2) pointed the way toward geometric letterforms. 3) His almost pictographic simplifications of the human figure and objects were a major inspiration for modernist pictorial graphics that became the major thrust of the revived French poster art of the 1920s. 4) Léger's flat planes of color, urban motifs, and the hard-edged precision of his machine forms helped define the modern design sensibility after World War I. By developing a new approach to visual composition, cubism changed the course of painting and to some extent graphic design as well. Its visual inventions became a catalyst for experiments that pushed art and design toward geometric abstraction and new attitudes toward pictorial space.
Man Ray, solarization, rayographs
An American artist from Philadelphia, _____ ____ (born Emanuel Rabinovitch, 1890-1976), met Duchamp and fell under the Dada spell in 1915. 1) After moving to Paris in 1921, Man Ray joined Breton and others in their evolution from Dada toward surrealism, with its less haphazard investigation of the role played by the unconscious and chance in artistic creation. 2) During 1920s he worked as a professional photographer while applying Dada and surrealism to photography, using both darkroom manipulation and bizarre studio setups. 3) He was the first photographer to explore the creative potential of __________: the reversal of the tonal sequence in the denser areas of a photographic negative or print, which adds strong black contours to the edges of major shapes (Figs. 13-54 and 13-55). A) Solarization is achieved by giving a latent or developing photographic image a second exposure to light. Man Ray called his cameraless prints ________ (13-56). He frequently made his exposures with moving beams of light and combined experimental techniques such as solarization with the basic technique of placing objects on the photographic paper. 1) He also used distortion, printing through textures, and multiple exposures as he searched for dreamlike images and new interpretations of time and space, applying surrealism to graphic design (Fig. 13-57), and photography assignments. The concepts, images, and methods of visual organization from cubism, futurism, Dada, surrealism, and expressionism have provided valuable insights and processes for graphic designers. The innovators of these movements, who dared to walk into a no-man's-land of unexplored artistic possibilities, continue to influence artists, designers, and illustrators to this day.
Fernand Léger
An artist who joined the cubist movement but moved it away from its initial founders... work evolved toward an art of pure color and shape relationship... moved closer to his visual experience in paintings... his almost pictographic simplifications of the human figure and objects were a major inspiration for the modernist pictorial graphics that became the major thrust of the revived poster art in the 1920's... flat planes of color, urban motifs, and the hard-edged precision of his machine forms helped define the modern design sensibility after WW1 ____________ moved cubism away from the initial impulses of its founders and took Paul CÉZANNE's famous dictum, *"treat nature in terms of the cylinder and the sphere and the cone,"* far more seriously than any other cubist. The letterforms in his graphic work, such as those shown in Fig. 13-7, pointed the way toward geometric letterforms. His flat planes of color, urban motifs, and the hard-edged precision of his machine forms helped define the modern sensibility after World War I.
Hugo Ball
Artist who opened Cabert Voltaire as a gathering place for independent young poets, painters, and musicians... led to the movement of Dada... worked with Tzara and Hans Arp in exploring sound, nonsense, and chance poetry One of the leading artists and founders of Dada - wrote the Dada Manifesto and Karawane
cubism, Pablo Picasso
Cubism: By introducing a design concept independent of nature, _______ began a new artistic tradition and way of seeing that challenged the Renaissance tradition of pictorial art. The genesis of this movement was a series of works by the Spanish painter ________ ________ (1881-1973) that applied elements of ancient Iberian and African tribal art to the human figure (13-1). Boldly chiseled geometric planes of African sculpture, masks (13-2), and fabrics were an exciting revelation for Picasso and his friends. Another major influence was the French post-impressionist painter Paul Cézanne (1839-1906), who observed that a painter should "treat nature in terms of the cylinder and the sphere and the cone." The drawings and paintings of these artists demonstrate the new approach to handling space and expressing human emotions. 1) Figures are abstracted into geometric planes, and classical norms for the human figure are broken. 2) The spatial illusions of perspective give way to an ambiguous shifting of two-dimensional planes. 3) Some figures are simultaneously seen from more than one viewpoint.
Dada, Hugo Ball, Tristan Tzara, Jean Arp
Dada Reacting against the carnage of World War I, the ______ movement claimed to be anti-art and had a strong negative and destructive element. 1) Dada writers and artists were concerned with shock, protest, and nonsense. 2)They rebelled against the horrors of war, the decadence of European society, the shallowness of blind faith in technological progress, and the inadequacy of religion and conventional moral codes in a continent in upheaval. 2) Rejecting all tradition, they sought complete freedom. 4) The Dada movement developed spontaneously as a literary movement after the poet _______ _______ opened the Cabaret Voltaire in Zurich, Switzerland, as a gathering place for independent young poets, painters, and musicians. Dada's guiding spirit was a young and volatile Paris-based Rumanian poet, ________ ______, who edited the periodical DADA beginning in July 1917. 1) Tzara joined Ball, _____ _______ (also known as Hans Arp), and Richard Huelsenbeck in exploring sound poetry (13-25), nonsense poetry, and chance poetry. 2) wrote a steady stream of Dada manifestos and contributed to all major Dada publications and events. 3) Chance placement and absurd titles characterized their graphic work (13-26).
photomontage, Hannah Höch
Dada quickly spread from Zurich to other European cities. Dadaists said they were not creating art but mocking and defaming a society gone insane. Though several Dadaists produced meaningful visual art and influenced graphic design. Dada artists claimed to have invented ___________ (Fig. 13-29), the technique of manipulating found photographic images to create jarring juxtapositions and chance associations. Raoul Hausmann and _______ _______ were creating outstanding work in the medium as early as 1918.
Marcel Duchamp
Dadaists did not even agree on the origins of the name Dada, such was the anarchy of the movement. 1) one version of story: the movement was named when Dadaists opened a French-German dictionary and randomly selected the word dada, for a child's hobbyhorse. The French painter ________ ________ joined the Dada move Dada movement and became its most prominent visual artist. 1) Earlier, cubism had influenced his analysis of subjects as geometric planes, while futurism inspired him to convey time and motion. 2) To him, Dada's most articulate spokesman, art and life were processes of random chance and willful choice. Artistic acts became matters of individual decision and selection. This philosophy of absolute freedom allowed Duchamp to create ready-made sculpture, such as a bicycle wheel mounted on a wooden stool, and exhibit found objects, such as a urinal, as art (Figs. 13-27 and 13-28). The public was outraged when he painted a mustache on a reproduction of the Mona Lisa. This act was not intended to be an attack on the Mona Lisa, but rather an ingenious assault on tradition and a public that had lost the humanistic spirit of the Renaissance.
expressionism
Expressionism In early 20th-century art, the tendency to depict not objective reality but subjective emotions and personal responses to subjects and events was called _________, which emerged as an organized movement in Germany before World War I. 1) Color, drawing, and proportion: often exaggerated or distorted, and symbolic content was very important. 2) Line and color: often pronounced A) color and value contrasts were intensified. Tactile properties were achieved through thick paint, loose brushwork, and bold contour drawing. 3) Woodcuts, lithographs, and posters were important media for many expressionists. Revolting against conventional aesthetic forms and cultural norms, expressionists felt a deep sense of social crisis, especially during the years prior to World War I. 1) Many German expressionists rejected the authority of the military, education system, and government. 2) They felt deep empathy for the poor and social outcasts, who were frequent subjects of their work. 3) Intense idealism fueled the expressionists' belief in art as a beacon pointing toward a new social order and improved human condition.
Wassily Kandinsky
Expressionist / Non Objective, Non Representational Der Blaue Reiter non representational art: express feeling or emotion rather than object/figurative Founding members of Blaue Reiter... sought a spiritual reality beyond the outward appearances of nature and explored problems of form and color... _____ led the group and became the leading advocate of art that could reveal the spiritual nature of people through the orchestration of color, line and form on the canvas... abstract painter that worked in German that was one of the founders of the movement. In Painting with White Border, he sought to avoid representation altogether. Art should avoid any reference to visual reality and concentrate on color.
Filippo Marinetti
F. T. Marinetti, Zang Tumb Tuuum: Adrianople October 1912; Words-in-Freedom Words-in-freedom was the primary literary technique of the Futurist movement, both of which were founded by F.T. Marinetti. The Futurists conceived a style of free-form, visual poetry called parole in libertà, or "words-in-freedom." Following F. T. Marinetti's example, the Futurists liberated words and letters from conventional presentation by destroying syntax, using verbs in the infinitive, eliminating adjectives and adverbs, abolishing punctuation, inserting musical and mathematical symbols, and employing onomatopoeia. Words-in-freedom poems were read as literature, experienced as visual art, and performed as dramatic works. Futurism was launched when the Italian poet Filippo Marinetti (1876-1944) published his Manifesto of Futurism in the Paris newspaper Le Figaro on 20 February 1909. The manifesto voiced enthusiasm for war, the machine age, speed, and modern life. It shocked the public by proclaiming, "We will destroy museums, libraries, and fight against moralism, feminism, and all utilitarian cowardice." Marinetti and his followers produced an explosive and emotionally charged poetry that defied correct syntax and grammar. Wrote the Futurist manifesto: Les Mots en liberte futunristes (Futurist Words-in-Freedom) -describes the impact of great discoveries of science on human psyche -dismiss free verse, put forth liberating words from syntax and grammar (used onamonapia, symbols)
a
Figurative surrealist painters have been called "naturalists of the imaginary" by French art historians. 1) Space, color, perspective, and figures are rendered in careful naturalism, but the image is an unreal dreamscape. The Belgian surrealist René Magritte maintained a poetic dialogue between reality and illusion, truth and fiction (13-46). 1) His prolific body of images inspired many visual communications.
Paul Klee
Fish Magic When first looking at the painting it is evident that the general theme of the piece is an atmosphere where life in the form of fish and plants live freely among people and planets. The seemingly unrelated clown and curtain in the corners of the piece also draw the viewer's attention. The center figure appears to be a suspended church steeple with a clock in the center of it. The various figures of the Fish Magic painting can be put together to have several different messages or interpretations depending on who is viewing it. The piece can be interpreted purely as an underwater scene where the clock represents "the time remaining before the fish are caught"). However, a more likely theme of this work that is seen in a lot of Klee's works is "the difference between cosmic and earthly time-between infinite and finite time...It suggests that all life is controlled by time". The life is represented by the flowers, fish, and beings and time is represented by the clock, celestial objects, and the curtain. The being with two faces appears to be looking into both worlds of time versus life which reminds the being of the eventual mortality of all life. Der Blaue Reiter childlike perspective in making art Founding members of Blaue Reiter... sought a spiritual reality beyond the outward appearances of nature and explored problems of form and color... _____ led the group and became the leading advocate of art that could reveal the spiritual nature of people through the orchestration of color, line and form on the canvas... _____ synthesized elements inspired by all the modern movements as well as children's and naive art, achieving intense, subjective power while contributing to the objective formal vocabulary of modern art (1879 - 1940) a Swiss - born painter and graphic artist whose personal, often gentaly humorous works containg allusions to dreams, music, and poetry.
Wassily Kandinsky, Paul Klee
Founding members of Der Blaue Reiter included Russian emigre _____ _______ and the Swiss artist _____ ____. 1) Less inclined to express the agony of the human condition 2) sought a spiritual reality beyond the outward appearances of nature and explored problems of form and color. Kandinsky 1) led the group and became the leading advocate of art that could reveal the spiritual nature of people through the orchestration of color, line, and form on the canvas. 2) His book "Concerning the Spiritual in Art" was an early argument for nonobjective art capable of conveying emotions from the artist to the observer through purely visual means without subject matter or literal symbols. 3) He compared color and form to music and its ability to express deep human emotion. This belief in the autonomy and spiritual values of color led to the courageous emancipation of his painting from motifs and representational elements (Fig. 13-50).
Die Brücke, Der Blaue Reiter,
German artists formed 2 early expressionist groups: 1) ____ _________ (The Bridge) originated in Dresden in 1905 2) ___ ______ ____(The Blue Rider) began in Munich in 1911 Expressionists consciously sought new approaches to art and life. Die Brücke artists declared their independence in transforming their subject matter until it conveyed their own unexpressed feelings Contrast Der Blaue Reiter redefined art as an object without subject matter, but with perceptual properties that were able to convey feelings. Die Brücke's figurative paintings and woodblock prints were forged with thick, raw strokes, often becoming bold statements about alienation, anxiety, and despair. German expressionism extended into theater, film, and literature, as in such works as Franz Kafka's Metamorphosis and The Trial.
a
Heartfield's younger brother, Wieland Herzfelde, was a poet, critic, and publisher who edited the journal Neue Jugend (New Youth) (13-42). 1) Was jailed in 1914 for distributing communist literature 2) Wieland started the Malik Verlag publishing house, an important avant-garde publisher of Dada, left-wing political propaganda, and experimental literature. The painter and graphic artist George Grosz was closely associated with the Herzfelde brothers. 1) He attacked a corrupt society with satire and caricature (13-43) and advocated a classless social system. 2) His drawings project the angry intensity of deep political convictions in what he perceived to be a decadent, degenerate milieu. Having inherited Marinetti's rhetoric and assault on all artistic and social traditions, Dada was a major liberating movement that continued to inspire innovation and rebellion. Dada was born in protest against war, and its destructive and exhibitionist activities became more absurd and extreme after the war ended. In 1921 and 1922, controversy and disagreement broke out among its members, and the movement split into factions. French writer and poet André Breton, who was associated with the Dadaists, emerged as a new leader who believed that Dada had lost its relevance, making new directions necessary. Having pushed its negative activities to the limit, lacking a unified leadership, and with its members facing the new ideas that eventually led to surrealism, Dada foundered and ceased to exist as a cohesive movement by the end of 1922. However, Schwitters And Heartfield continued to evolve and produced their finest Work after the movement's demise. Dada's rejection of art and tradition enabled it to enrich the visual vocabulary started by futurism. Through a synthesis of spontaneous chance actions with planned decisions, Dadaists helped to strip typographic Design of its traditional precepts.
John Heartfield
In contrast to the artistic and constructivist interests of Schwitters, the Berlin Dadaists _____ _______, Wieland Herzfelde, and George Grosz held vigorous revolutionary political beliefs and oriented many of their artistic activities toward visual communications to raise public consciousness and promote social change. John Heartfield is the English name adopted by Helmut Herzfelde as a protest against German militarism and the army in which he served from 1914 to 1916. 1) A founding member of the Berlin Dada group in 1919, Heartfield used harsh disjunction of photomontage as a potent innovations offset printing. 2) He targeted the Weimar Republic and the growing Nazi party in book covers, magazine covers and illustrations, and a few posters (Fig. 13-36 through 13-41). A) His montages: most urgent in the history of the technique. He did not take photographs or retouch images but worked directly with glossy prints acquired from magazines and newspapers. B) Sometimes he commissioned a needed image from a photographer. After storm troopers occupied his apartment-studio in 1933, Heartfield fled to Prague, where he continued his graphic propaganda and mailed postcard versions of his graphics to Nazi leaders. In 1938 he learned that he was on a secret Nazi list of enemies and fled to London. He settled in Leipzig, East Germany, in 1950, where he designed theater sets and posters. Before his death in 1968, he produced photomontages protesting the Vietnam War and calling for world peace. "Unfortunately Still Timely" was the title of one retrospective of his graphic Art.
Parole in libertà
October 1912; Words-in-Freedom Words-in-freedom was the primary literary technique of the Futurist movement, both of which were founded by F.T. Marinetti. The Futurists conceived a style of free-form, visual poetry called parole in libertà, or "words-in-freedom." Following F. T. Marinetti's example, the Futurists liberated words and letters from conventional presentation by destroying syntax, using verbs in the infinitive, eliminating adjectives and adverbs, abolishing punctuation, inserting musical and mathematical symbols, and employing onomatopoeia. Words-in-freedom poems were read as literature, experienced as visual art, and performed as dramatic works. "Words in freedom" -typographic revolution against the classical tradition... harmony was rejected using boldfaces, italics, and twenty typefaces... free, dynamic, and piercing words were given the velocity of stars, clouds, airplanes, trains, atoms, etc. -Giovanni Papini's publication of Lacerba
a
Of the large number of artists who joined the surrealist movement, several significantly influenced visual communications, with a major impact on photography and illustration. Max Ernst, a German Dadaist, used a number of techniques that have been adopted in graphic communications. 1) Fascinated by the wood engravings in nineteenth-century novels and catalogues, he reinvented them by using collage techniques to create strange juxtapositions (13-45). These surreal collages have had a strong influence on illustration. 2) His frottage technique involved using rubbings to compose directly on paper. As he looked at his rubbings, Ernst's imagination invented images in them, much as one sees images in cloud formations. A) Then he developed the rubbings into fantastic pictures. B) Decalcomania, Ernst's process transferring images from printed matter to a drawing or painting, enabled him to incorporate a variety of images into his work in unexpected ways. This technique has been used extensively in illustration, painting, and printmaking.
simultaneity
On 11 February 1910, five artists who had joined Marinetti's futurist movement published the Manifesto of the Futurist Painters. Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini declared their intentions: "Destroy the cult of the past. ... Totally invalidate all kinds of imitation. ... Elevate all attempts at originality. ... Regard art critics as useless and dangerous. ... Sweep the whole field of art clean of all themes and subjects that have been used in the past. . . . Support and glory in our day-to-day world, a world which is going to be continually and splendidly transformed by victorious Science. The futurist painters were strongly influenced by cubism, but they also attempted to express motion, energy, and cinematic sequence in their work (Fig. 13-20). They first used the word _________ in a visual-art context to express concurrent (simulations) existence or occurrence, such as the presentation of different views in the same work of art." The Manifesto of Futurist Architecture was written by Antonio Sant'Elia (1888-1916). 1) He called for construction based on technology and science and for design that addressed the unique demands of modern life (13-21). 2) He declared decoration to be absurd and used dynamic diagonal and elliptic lines because their emotional power was greater than horizontals and verticals. Tragically, Sant'Elia was killed on the battlefield, but his ideas and visionary drawing influenced the course of modern design, particularly art deco.
Käthe Schmidt Kollwitz
Outstanding examples of the expressionist concern for the human condition and its representation in easily understood graphic imagery are found in drawings, prints, sculpture, and posters by ________ _____ ____. 1) Married a physician who ran a clinic in a Berlin working-class district 2) Kollwitz gained 1st hand knowledge about the miserable conditions of the working poor. A) She documented their plight in figurative works of great emotional power. Great empathy for the suffering of women and children is conveyed by her posters (Fig. 13-49).
collage, synthetic cubism, Juan Gris,
Picasso and Braque introduced paper collage elements into their work in 1912. Collage allowed free composition independent of subject matter and declared the reality of the painting as two-dimensional object. The texture of ________ elements could signify objects. 1) To denote a chair, Picasso glued oilcloth printed with a chair cane pattern into a painting. 2) Often letterforms and words from newspapers were incorporated as visual form and for associated meaning. In 1913 cubism evolved into ________ __________. Drawing on past observations, the cubists invented forms that were signs rather than representations of the subject matter. The essence of an object and its basic characteristics, rather than its outward appearance, was depicted. ______ _______ (1887-1927) was a major painter in the development of synthetic cubism. His paintings, like the 1916 Fruit Bowl (Fig. 13-4), combined composition from nature with an independent structural design of the picture space. 1) First he planned a rigorous architectural structure using golden section proportions and a modular composition grid 2) then he "laid the subject matter" on this design scheme. Gris had a profound influence on the development of geometric art and design. His paintings are a kind of halfway house between an art based on perception and an art realized by the relationships between geometric planes.
analytical cubism
Picasso and his associate Georges Braque (1881-1963) developed cubism as the art movement that replaced the rendering of appearances with the endless possibilities of invented form. _______ ______ (Fig. 13-3) is the name given to their work from about 1910 to 1912. During this period: they... 1) analyzed the planes of the subject matter, often from several points of view, and used these perceptions to construct a painting composed of rhythmic geometric planes. 2) The real subject is shapes, colors, textures, and values used in spatial relationships. Analytical cubism's compelling fascination grows from the unresolved tension of the sensual and intellectual appeal of the pictorial structure in conflict with the challenge of interpreting the subject matter. Cubism has a strong relationship with the process of human vision. Our eyes shift and scan a subject; our minds combine these fragments into a whole.
surrealism, Tristan Tzara,
Surrealism With roots in Dada and in a group of young French writers and poets associated with the journal Littérature, __________ entered the Paris scene in 1924, searching for the more real than real world behind the real"—the world of intuition, dreams, and the unconscious realm explored by Freud. Apollinaire had used the expression "surreal drama" in reviewing a play in 1917. The poet André Breton, the founder of surrealism, imbued the word with all the magic of dreams, the spirit of rebellion, and the mysteries of the subconscious in his 1924 Manifesto du Surréalisme: "Surrealism, noun, masc. pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, all aesthetic or moral preoccupations." _______ _________ came from Zurich to join Breton, Louis Aragon , and Paul Éluard. 1) He stirred the group on toward scandal and rebellion. 2) These poets rejected the rationalism and formal conventions dominating postwar creative activities in Paris. A) sought ways to make new truths, to reveal the language of the soul. Surrealism (or "super reality") was not a style or a matter of aesthetics; rather, it was a way of thinking and knowing, a way of feeling, and a way of life. 1) Where Dada had been negative, destructive, and perpetually exhibitionist, surrealism professed a poetic faith in man and his spirit. 2) Humanity could be liberated from social and moral conventions. Intuition and feeling could be free. 3) The writers experimented with stream-of consciousness writing, or automatism, to seek an uninhibited truth. The impact of the surrealist poets and writers has been limited to French literary and scholarly circles; it was through the movement's painters that surrealism affected society and visual communications. While surrealists often created works so personal that communication became impossible, they also produced images whose emotional content, symbolism, or fantasy triggered a collective, universal response in large numbers of people.
Analytical cubism
The first two decades of the twentieth century were a time of ferment and change that radically altered all aspects of the human condition. The social, political, cultural, and economic character of life was caught in fluid upheaval. In Europe, monarchy was replaced by democracy, socialism, and communism. Transportation was radically altered by the coming of the motorcar (1885) and the airplane (1903). The motion picture (1896) and wireless radio transmission (1895) foretold a new era of human communications. Amidst this turbulence, it is not surprising that visual art and design experienced a series of creative revolutions that questioned long-held values and approaches to organizing space as well as the role of art and design in society. The traditional objective view of the world was shattered. Elemental ideas about color and form, social protest, and the expression of Freudian theories and deeply personal emotional states occupied many artists. Cubism and futurism, Dada and surrealism, De Stijl, suprematism, constructivism, and expressionism, directly influenced the graphic language of form and visual communications in this century. The evolution of twentieth-century graphic design closely relates to modern painting, poetry, and architecture. Man With Violin By Pablo Picasso structured dissection of the subject, viewpoint-by-viewpoint, resulting in a fragmentary image of multiple viewpoints and overlapping planes. simplified palette of colours, so the viewer was not distracted from the structure of the form, and the density of the image at the centre of the canvas. _________- Early faze of cubism (1907-1912) 13.3: artist looked at subject at many different view points and reconstructed it -sense of subject -unified by art palette (Pablo eventually started to glue printed images to his still life to keep it from total abstraction) A style of cubism that reduced objects to basic geometric shapes and reduced the color palette to be almost monochromatic. the early phase of cubism, chiefly characterized by a pronounced use of geometric shapes and by a tendency toward a monochromatic use of color. Figures are abstracted into geometric planes, and classical norms for the human figure are broken. The spatial illusions of perspective give way to an ambiguous shifting of two-dimensional planes... has a strong relationship with the process of human vision. Our eyes shift and scan a subject; our minds combine these fragments into a whole
Salvador Dalí, emblematics
The theatrical Spanish painter ________ ______ influenced graphic design in 2 ways: 1) His deep perspectives in his prints and paintings inspired designers to bring vast depth to the flat, printed page and has been frequently imitated in posters and editorial images (Fig. 13-47). Another group of surrealist painters, the ________, worked with a purely visual vocabulary. Visual automatism (intuitive stream-of-consciousness drawing and calligraphy) was used to create spontaneous expressions of inner life in the work of Joan Miró and Jean Arp. 1) Miró explored a process of metamorphosis through which he intuitively developed his motifs into cryptic, organic shapes (Fig. 13-48). As early as 1916, Arp explored chance and unplanned harmonies in works such as "Squares Arranged According to the Laws of Chance." The biomorphic forms and open composition of these artists were incorporated into product and graphic design, particularly during the 1950s. Surrealism's impact on graphic design has been diverse. It provided a poetic example of the liberation of the human spirit. It pioneered new techniques and demonstrated how fantasy and intuition could be expressed in visual terms. Unfortunately, the ideas and images of surrealism have been exploited and trivialized frequently in the mass media.
Salvador Dali
_____- Surrealist, 13.47 Artist who influenced graphic design in two ways... his deep perspectives in his prints and paintings inspired designers to bring vast depth to the flat, printed page and has been frequently imitated in posters and editorial images
Solarization
_____- the reversal of the tonal sequence in the denser areas of a photographic negative or print. So darker areas go white which is made by exposing the print to white light in the middle of its development. Adds strong black contours to ends of shapes Achieved by giving latent or developing photographic images a second exposure to light
Kurt Schwitters, Merz
____ _________ of Hanover, Germany, created a nonpolitical offshoot of Dada that he named ________, coined from the word Kommerz (commerce) in one of his collages (Fig. 13-30). Schwitters gave Merz meaning as the title of a one-man art movement. 1) Began in 1919, his Merz pictures were collage compositions (photomontage,) using printed ephemera, rubbish, and found materials to compose color against color, form against form, and texture against texture (13-31). His complex designs combined Dada's elements of nonsense, surprises, and chance with strong design properties. When he tried to join the Dada movement as "an artist who nails his pictures together," he was refused membership for being too bourgeois. Schwitters wrote and designed poetry that played sense against nonsense (13-32). 1) He defined poetry as the interaction of elements: letters, syllables, words, sentences. In the early 1920s, constructivism became an influence in his work after he made contact with El Lissitzky and Théo van Doesburg, who invited Schwitters to Holland to promote Dada. Schwitters and Van Doesburg collaborated on a book in which typographic forms were depicted as characters (13.33). Between 1923 and 1932 Schwitters published 24 issues of the periodical Merz (13-34), whose 11th issue was devoted to advertising typography. During this time, Schwitters ran a successful graphic design studio with Pelikan (a manufacturer of office equipment and supplies) as a major client, and the city of Hanover employed him as typography consultant for several years (13.35). When the German political situation deteriorated in the 1930s, Schwitters began spending more time in Norway, and he moved to Oslo in 1937, After Germany invaded Norway in 1940 he fled to the British Isles, where he spent his last years and reverted to traditionalist painting.
Man Ray
____- Facile is the collaboration of French poet Paul Eluard (Eugène Émile Paul Grindel) with American-born artist Man Ray (Emmanuel Radnitzky). Eluard's second wife Maria Benz, known as Nusch (his first wife incidentally being Helena Diakonova, who later achieved fame as Gala, the wife of Salvadore Dali) inspired the poems and posed for the images. In terms of layout and photographic language this book inspired many artists and photographers, and remains a coveted treasure to many photobook collectors. It is compromised of unbound folded sheets held within a hard cover, resembling a small portfolio more than a photobook. Whatever the definition, Man Ray's nudes of Nusch were shockingly new and ground-breaking, as is the cover design. The volume contains eleven nudes (with one double-exposure) and one still life with gloves. Eluard's poems both figuratively and literally caress Nusch's figure in the layout. A wonderful declaration of love. Sadly Nusch was to die unexpectedly in 1946. Artist who evolved from Dada towards surrealism... worked as a professional photographer while applying Dada and surrealism to photography, using both darkroom manipulation and bizarre studio setups... was the first photographer to explore the creative potential of solarization... also used distortion, printing through textures, and multiple exposures as he searched for the dreamlike images and new interpretations of time and space, applying surrealism to graphic design and photography assignments dada and surrealism to photograph 1st to explore solarization 13.55: solarization rayograph (photogram): camera-less photograph 13.57: rayograph
Hannah Höch
____- Known for her incisively political collage and photomontage works, Dada artist Hannah Höch appropriated and rearranged images and text from the mass media to critique the failings of the Weimar German Government. Höch drew inspiration from the collage work of Pablo Picasso and fellow Dada exponent Kurt Schwitters, and her own compositions share with those artists a similarly dynamic and layered style. Höch preferred metaphoric imagery to the more direct, text-based confrontational approach of her contemporary John Heartfield. She rejected the German government, but often focused her criticism more narrowly on gender issues, and is recognized as a pioneering feminist artist. After leaving college, Hoch had worked for commercial publishers, creating dress and embroidery patterns for women's magazines. She now drew on this experience and on a large body of advertising material she had collected, in images that were unprecedented in their insights into the way society 'constructs' women. In 'Da-Dandy' a cascade of smiling cut-out women form the profile of an anonymous, but cerebral male. german dada artist photomontage 13.29: mass culture beauty industry
Dada
_____-Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916 at Cabaret Voltaire, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades. Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois. Many Dadaists believed that the 'reason' and 'logic' of bourgeoisie capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos and irrationality. In an attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in The Fountain with a hammer in January 2006; he also urinated on it in 1993. reacting against WW1 (anti-bourgeois- middle-class) anti-art, negative and destructive elements, shock and nonsense, anarchic reject tradition Unlike futurists, rejected reason and logic, prized nonsense, chance, etc Started in Switzerland Hugo Ball:
Paul Klee
______ _______ 1) He synthesized elements inspired by all the modern movements as well as children's and naive art, achieving intense subjective power while contributing to the objective formal vocabulary of modern art (Fig. 13-51). 2) His subject matter was translated into graphic signs and symbols with strong communicative power. 3) Klee's Pedagogical Sketchbook defined the elements of art and their interaction, motion, and spatial depth. His published lectures are the most complete explication of modern design by any artist. In France the Fauves (Wild Beasts), led by Henri Matisse (1869-1954), shocked proper French society with their jarring color contrasts and spirited drawing in the first decade of the century. 1) Except for Georges Rouault, the Fauves were more involved with color and structural relationships than expressions of spiritual crisis. The techniques and subject matter of expressionism influenced graphic illustration and poster art; the emphasis on social and political activism continues to provide a viable model for graphic designers addressing problems of the human condition and environment. Inspiration was drawn from art by children, unschooled artists, non-European cultures, and tribal arts. Theories about color and form advanced by Kandinsky and Klee became important foundations for design and design education through their teaching at the Bauhaus
Käthe Schmidt Kollwitz
______- With a background in Socialism, The German Expressionist Kollwitz' paintings and woodcuts often depict social movements, peasant uprisings, the impact of war, and the life of the worker, especially how all of this affected women and chidren. Made in 1923, 'The Survivors' is a disquieting drawing depicting the displacement of war. German expressionist Account of human condition -poverty and hunger Artist with the expressionist concern for the human condition and its representation in easily understood graphic imagery... gained firsthand knowledge about the miserable conditions of the working poor... documented their plight in figurative works of great emotional power... great empathy for the suffering of women and children is conveyed in this artist's work Outstanding examples of the expressionist concern for the human condition and its representation in easily understood graphic imagery are found in drawings, prints, sculpture, and posters by this person. Married to a physician who ran a clinic in a Berlin working-class district, ___ gained firsthand knowledge about the miserable conditions of the working poor. She documented their plight in figurative works of great emotional power. Great empathy for the suffering of women and children is conveyed by her posters
Cubism
_______- developed by Pueblo Picasso (Spanish in France) and Georges Braque 1st style of abstract art response to world that was changing, attempt by artist to revitalize traditions of western art that they believed already run its course. Challenged traditional forms of representation like perspective New way of seeing that reflected modern age expressive : other cultures like African art Used sight: seeing details in fragments and different views Paintings: depict real people/places but not from a fixed view point, shows many parts of a subject viewed from different angles and reconstructed into a composition of planes, forms, color. Idea of space is reconfigured Called futurism in Italy suprematism and constructivism: Russia expressionism: Germany Had to distinct fazes: Analytical cubism synthetic cubism A style of art in which the subject matter is portrayed by geometric forms, especially cubes
Pattern poetry
_______- Lewis Carrol Pattern Poetry The futurist concept that writing and/or typography could become a concrete and expressive visual form has been a sporadic preoccupation of poets dating back at least to the work of the Greek poet Simias of Rhodes (c. 33 bce). Called pattern poetry, the verse that explored this idea often took the shape of objects or religious symbols. The futurist concept that writing or typography can become of expressive form dates back to 33 BCE 13.16 text forms mouses tail writing and/or typography could become a concrete and expressive visual form
John Heartfield
_______- was a pioneer in the use of art as a political weapon. Some of his photomontages were anti-Nazi and anti-fascist statements. In 1920, John Heartfield and George Grosz experimented with pasting pictures together, a form of art later named "photomontage."Heartfield lived in Berlin until April 1933, when the National Socialists took power. On Good Friday, the SS broke into his apartment, and Heartfield escaped by jumping from his balcony. He left Germany by walking over the Sudeten Mountains to Czechoslovakia. In 1934 he montaged four bloody axes tied together to form a swastika to mock the "Blood and Iron" motto of the Reich (AIZ, Prague, March 8, 1934). Artist who held vigorous revolutionary political beliefs and oriented many of their artist activities toward visual communications to raise public consciousness and promote social change... used the harsh disjunctions of photomontage as a potent propaganda weapon and introduced innovations in the preparation of mechanical art for offset printing... did not take photos or retouch images but worked directly with glossy prints acquired from magazines and newspapers... secret Nazi list German, surrealism, used art to make political statement (anti-nazai and anti-facist statements)
Synthetic cubism
________- Juan Gris - Fruit Bowl Synthetic Cubism grew out of Analytic Cubism. Synthetic cubism began when the artists started adding textures and patterns to their paintings, experimenting with collage using newspaper print and patterned paper. Analytical cubism was about breaking down an object (like a bottle) viewpoint-by-viewpoint, into a fragmentary image; whereas synthetic cubism was about flattening out the image and sweeping away the last traces of allusion to three-dimensional space. Instead of an abstraction of the object it captured the essence of an object. Synthetic Cubism took the movement to its extreme -- all sense of three-dimensionality disappeared. Instead of breaking down and reassembling facets of the original image, it was a matter of synthesizing entirely new, expansive structures. Sometimes the subject was recognizable as a unified structure; at other times, it was hardly legible. Instead, artists started using collage methods; overlapping various media; and including words, graphics and patterns, to achieve a desired thematic result. Colors were much brighter, geometric forms were more distinct, and textures began to emerge with additives like sand, paper or gesso. added printed images to artwork, collage shapes, moved away from uniform monochromatic surface. More direct and colorful style. Grew out of experimental nature of collage, developed through construction of collage -interested in making forms that were signs rather that representational of subject, its essence 13.4: colorful, collage, paper replaced paint cubists invented forms that were signs rather than representations of the subject matter A later phase of Cubism, in which paintings and drawings were constructed from objects and shapes cut from paper or other materials to represent parts of a subject, in order to engage the viewer with pictorial issues, such as figuration, realism, and abstraction.
Fortunato Depero
________-Fortunato Depero Depero Futurista. This book is also known as the "bolted book," on account of its unique binding. It was printed in 1927, in an edition of 1000 copies. It included the most important achievements of Depero's career, highlighting the many fields his work encompassed—from writing, painting, sculpture, and architecture, to tapestry, furniture, toys, theatre, advertising and more. The book itself was no traditional artist's monograph. Held together by industrial nuts and bolts, it was a mechanical book that could easily belong to the robotic figures from Depero's paintings. It was also destructive; it challenged the humanistic cult of the library. If you placed it on a shelf, it would damage the neighboring volumes. DEPERO FUTURISTA could be looked at as the first Artist's Book. Advertising played an important role in the Bolted Book at many levels. The volume dedicated many pages to reproductions of Depero's ads. It also included his "Manifesto to the Industrialists," where he compared the modern billboard to the altarpieces of the Renaissance. Above all, it advertised Depero's virtuosity as a graphic designer. The book was, in fact, a form of self-advertisement in and of itself. poster, advertising, typography, and was a futurist 13.23: precursor for artist's book
Emblematics
group of surrealist painters, who worked with a purely visual vocabulary. Spontaneous expressions of inner life Group of surrealist painters... visual automatism was used to create spontaneous expressions of inner life... worked with purely visual vocabulary Joan Miro