Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
67 Cards in this Set
- Front
- Back
|
Pictorial Modernism
|
modern-art movements and the **communication needs of approaching world war affected the approach to poster design. The **shift from naturalism to a simplified visual language of sign and shape** that had begun with Toulouse-Lautrec was continued by James Pryde and William Nicholson during their brief pseudonymous advertising career as the **Beggarstaffs. But it was the work of Lucian Bernhard (Chapter 3) that inspired the **reductive, flat-color design approach** that emerged in Germany early in the twentieth century known as *Plakatstil* (poster style). The **Beggarstaffs’** work standouts during this period as highly influential and foreshadows German design to come.
|
|
|
Century Guild:
|
A youthful group of artists and designers, led by Arthur Mackmurdo, (friend of John Ruskin and William Morris) who banded together in 1882 with the goal “to render all branches of art the sphere, no longer of the tradesman, but of the artist…” and aimed to elevate the design arts to “their rightful place beside painting and sculpture.” The group evolved a new design aesthetic incorporating Renaissance and Japanese design ideas into their work. Their designs provide a bridge between the Arts and Crafts movement and the floral stylization of Art Nouveau. 1888: The Century Guild broke apart when collaborative work
turned individual.
|
|
|
Art Nouveau: Scotland, Austria, and Germany
|
overall more symmetrical, rectilinear, and abstract than that of their French and English contemporaries.
|
|
|
aim of art nouveau (scotland austria germany)
|
Continuing attempts by artists to collapse the hierarchical relationship between the “fine arts” of painting, sculpture, and architecture, and the less esteemed “crafts” – a category that included graphic design.
|
|
|
ideals of art nouveau (scot aust germany)
|
The belief in the feasibility of artist-led utopias, or perfect worlds, which served as an escapist alternative to the alienating spaces of the industrial age, is considered.
|
|
|
nationalism in art nouveau (scot austr germny)
|
Design styles as a marker of national or regional identity, which celebrated the accomplishments of society under the leadership of bourgeois industrialists.
|
|
|
The Glasgow School (The Four)
|
Charles Rennie Mackintosh, J. Herbert McNair, and Margaret and Frances Macdonald.
|
|
|
elements of glasgow school scottish art nouveau
|
These young collaborators developed a unique style of lyrical originality and symbolic complexity. They innovated a GEOMETRIC style of composition by tempering FLORAL and CURVILINEAR elements with strong RECTILINEAR structure
|
|
|
The Vienna Secession
|
austrian art nouveau
1897 Led by: Gustav Klimt (Joseph Maria Olbrich, Joseph Hoffman, and Koloman Moser) |
|
|
Vienna Academy of the Arts
|
• aged / dated with tradition , conservative, versus Genossenschaft Bildender Kunstler Wiens
|
|
|
Genossenschaft Bildender Kunstler Wiens
|
• Viennese Creative Artists’ Association
• contemporary artists “cooperative” |
|
|
reason for vienna secession
|
refusal to allow foreign artists to participate in Künstlerhaus exhibitions was their main issue, but the clash between tradition and new ideas emanating from France, England, and Germany lay at the heart of the conflict. Theirs became a countermovement to the floral art nouveau that flourished in other parts of Europe.
|
|
|
Secessionstil
|
synonym for Art Nouveau style
The group’s rapid evolution ran from the illustrative allegorical style of symbolist painting to a French-inspired floral style to the mature style, which drew inspiration from the Glasgow School. |
|
|
diff btwn secessionstil and art nouveau
|
A major difference between this group and true Art Nouveau is the artists’ love of clean, simple, sans-serif lettering, ranging from flat, blocky slabs to fluidly calligraphic forms. Their elegant Ver Sacrum (Sacred Spring) was more a design laboratory than a magazine.
|
|
|
gustav klimt
|
secessionstil
President of the Secession Group, influence by French Symbolist ideas (emotional response, ambiguity in design); propensity for combining decoration with ambiguous sexually charged subjects |
|
|
Josef Maria Olbrich
|
secessionstil
1867-1908, Architect and designer of the Secession Building used for related exhibitions; noted at the time as a prime example of Viennese Art Nouveau architecture. |
|
|
Kolomon Moser
|
secessionstil
1868-1918, organized the journal Ver Sacrum (1898); contributed designs and drawings that revealed influences from Scottish designs |
|
|
Joseph Hoffman
|
secessionstil
1870-1956, Viennese architect, designer; along with Moser developed the Wiener Werkstatte (Viennese Workshops) promoting high quality Austrian crafts (decorative arts); students were influenced by Morris, Arts and Crafts as well as Gesamtkunstwerk = after 1905 this leads to decline of the Secessionist works |
|
|
Gesamtkunstwerk definition
|
total work of art
Art work that encompasses every possible type of aesthetic expression. |
|
|
Gesamtkunstwerk aim of
|
The effort made by Secession artists to unify different media with a holistic aesthetic.
Secession artists sought to implement the idea of a unification of the arts in as many ways as possible. |
|
|
roots of gesamtkunstwerk
|
Concept originated by German opera composer Richard Wagner. Wagner felt he could attain
this through his operatic compositions, which combined elements drawn from literary, musical, and visual artistic traditions. |
|
|
Expressionism-
|
A mindset that grew out of the Viennese Secession movement whereby the artist seeks not to show what the world looks like, but rather how it feels
Artists sought to represent the storm and stress of a tortured soul or a trying situation. Often articulates a type of anxiety or unease about the world. Strong use of distortion of form, color and space that are used to increase the emotional impact. |
|
|
Key Players associated with Werkstatte
|
Oskar Kokoschka
Egon Schiele |
|
|
Oskar Kokoschka
|
1886-1980, both proteges of Gustav Klimt, painter who experimented with bookbinding and poster work; expressively intensive, tortured in form
|
|
|
Egon Schiele
|
1890-1918, obsessed with depiction of psycho-sexual conflict, devotee of Freud, father infected with syphilis and thus insanity; obsessed with narcissism and religion; died tragically of Spanish influenza. Klimt and Moser as die that same year bringing to an end an era Viennese art.
|
|
|
Henri van de Velde
|
(1860-1957)
• Belgian • focused on decorative arts after painting • inspired by Japanese printing, Arts and Crafts as well as French and English Art Nouveau • distilled diverse styles into one style |
|
|
Peter Behrens
|
The German artist, architect, and designer who played a major role in charting a course for design in the first decade of the new century. He sought typographic reform, was an early advocate of sans-serif typography, and used a grid system to structure space in his design layouts. He has been called “the first industrial designer” in recognition of his designs for such manufactured products as streetlamps and teapots. His work for AEG (Allegemein Elektricitats Gesellschaft), is considered the first comprehensive visual identification program. He believed that after architecture, typography provided “the most characteristic picture of a period, and the strongest testimonial of the spiritual progress” and “development of a people.” His typographic experiments were a deliberate attempt to express the spirit of the new era.
In 1903, he moved to Düsseldorf to become director of the Düsseldorf School of Arts and Crafts, where his purpose was to go back to the fundamental intellectual principles of all form-creating work, allowing such principles to be rooted in the artistically spontaneous and their inner laws of perception rather than directly in the mechanical aspects of the work. His work from the beginning of the 1900s is part of the tentative beginnings of constructivism in graphic design, where realistic or even stylized depictions are replaced by architectural and geometric structure. |
|
|
Pictorial Modernism
|
The modern-art movements and the communication needs of world war affected the approach to poster design. The shift from naturalism to a simplified visual language of sign and shape that had begun with Toulouse-Lautrec was continued by James Pryde and William Nicholson during their brief pseudonymous advertising career as the Beggarstaffs. But it was the work of Lucian Bernhard that inspired the reductive, flat-color design approach that emerged in Germany early in the twentieth century known as Plakatstil (poster style) and Sachplakat (object poster) .
|
|
|
sachplakat
|
Sachplakat (object poster) Characterized by a simple and sometimes hyperrealistic approach. The reductive, flat-color design school that emerged in Germany early in the twentieth century; it employed flat background colors; large, simple images; and product names.
|
|
|
plakatstil
|
poster style
|
|
|
Sachplakat Phenomenon
|
Represents a direct rejection of the ornamental complexity of Art Nouveau.
Sachplakat style offered an alternative to corporate clients such as Priester, who were dismayed by the “artiness” of Art Nouveau graphics, and whose complexity of style could obscure their product. |
|
|
Lucian Bernhard
|
Flat color shapes, product name, and product image. Introduced the "sachplakat" (object poster)
His formula was simple: flat background color; large, simple image, and product name.
|
|
|
World War 1 (1914-1918)
|
Summer of 1914: World War 1 began as a result of an initial conflict between
Austria-Hungary and Serbia and eventually involved most of the world's great European powers, assembled in two opposing alliances: the Allies against the Central Powers. Approximately 20 million people were killed, making it one of the deadliest conflicts in history. General public generally unaware of the extent of loss during this time. http://www.history.com/topics/world-war-i/videos#wwi-firsts Allied Powers: Britain, France, Italy, Russian Empire, and the USA (after 1917) Central Powers: Austria-Hungary, Germany and Turkey |
|
|
propaganda
|
A form of communication that is aimed at influencing the attitude of a
community toward some cause or position. |
|
|
Propaganda posters
|
were used not only as a means of justifying involvement
to each countries populace, but also as a means of procuring men, money and resources to sustain the military campaign. |
|
|
Mein Kampf (My Struggle) / Ludwig Hohlwein
|
Written by Adolf Hitler to set forth his political philosophy and political ambitions for Germany. He wrote that propaganda “should be popular and should adapt its intellectual level to the receptive ability of the least intellectual” citizens. Hitler was convinced that the more artistically designed posters used in Germany and Austria during World War I were “wrongheaded,” and the slogans and popular illustrations of the Allies more effective.
The evolution of Ludwig Hohlwein’s work coincided with Hitler’s rise to power. As Hitler delivered passionate radio addresses about the German “master race” and the superiority of German athletes and culture, Hohlwein’s posters, which had moved toward a bold imperial and militaristic style with heavy forms and strong contrast, presented these images all across the nation. Hohlwein’s reputation was seriously tarnished by his collaboration with the Nazis as a result. |
|
|
Dada key players
|
(Key Players: Hugo Ball, Tristan Tzara, Hans Arp, Marcel Duchamp, Kurt Schwitters, John Heartfield)
|
|
|
dada movement
|
Reacting against the carnage of World War I, the Dada movement claimed to be anti-art. Dada writers and artists were concerned with shock, protest, and nonsense. Chance placement and absurd titles characterized their graphic work.
|
|
|
Modern Art + Modern Graphic Design
|
Amid the social, political, cultural, and economic turbulence of the early twentieth century, visual art and design experienced a series of creative revolutions that brought the role of art and design in society, in addition to the long-held values and approaches to organizing space, into question. The emphasis of this chapter is on the modern movements, specifically cubism, futurism, dada, surrealism, and expressionism, that influenced the graphic language of form and visual communications in the twentieth century.
|
|
|
Cubism
|
rejected mainstream society and commercial art
created an alternative for artists and designers looking for a structured abstract language with which they could experiment |
|
|
Analytical cubism:
|
Developed by Pablo Picasso and Georges Braque, it involves an analysis of the planes of its subject matter, often from several points of view (simultaneity), and using these perceptions to construct a painting composed of rhythmic geometric planes. 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.
|
|
|
Synthetic cubism
|
Drawing on past observations, the cubists invented forms that were signs, rather than representations, of their subject matter. The essence of an object and its basic characteristics, rather than its outward appearance, were depicted. (Key Players: Juan Gris, Fernand Leger)
|
|
|
Futurism
|
A revolutionary movement in which all the arts were to test their ideas and forms against the new realities of scientific and industrial society. Its manifesto voiced enthusiasm for war, the machine age, speed, and modern life. (Key Players: Filippo Marinetti, founder; Giovanni Papini)
|
|
|
Pattern poetry:
|
The futurist concept that writing and/or typography could become a concrete and expressive visual. In the nineteenth century, the German poet Arno Holz reinforced intended auditory effects through such devices as omitting capitalization and punctuation, varying word spacing to signify pauses, and using multiple punctuation marks for emphasis. (Key Players: Stephane Mallarme, Carlo Carra)
|
|
|
Calligrammes:
|
Guillame Apollinaire’s (associated with Cubists, had rivalry with Marinetti) name for poems in which the letterforms are arranged to form a visual design, figure, or pictograph. In 1918, a book of his calligrammes was published in which he explored the potential fusion of poetry and painting, introducing the concept of simultaneity to the time- and sequence-bound typography of the printed page.
|
|
|
Guillaume Apollinaire, take on calligrammes
|
an idealization of free verse poetry and typographical precision in an era when typography is reaching a brilliant end to its career, at he dawn of the new means of reproduction that are the cinema and the phonograph.”
|
|
|
Purism
|
European public tired of chaos and destruction.
Direct relationship to World War I, striving for more secure and harmonious future for Europe. Blamed the breakdown of shared values between European nations for causing the war. Wanted to establish a lyrical , universal aesthetic that could unite the continent. Sought to create a new style based on cubist principles. Supressed individual expression in favor of universal harmony, and wholly rejected any essence of expressionism. Convinced that “the new spirit” would serve as a visual template for society. |
|
|
Art deco
|
Popular geometric works of the 1920s and 1930s, which to some extent were an extension of Art Nouveau. It signified a major aesthetic sensibility in graphics, architecture, and product design during the decades between the two world wars. The influences of Cubism, the Bauhaus, and the Vienna Secession commingled with de Stijl and Suprematism, as well as a mania for Egyptian, Aztec, and Assyrian motifs and a passion for decoration.
|
|
|
Art Deco + Colonialism
|
Commissioned Art Deco works in Britain and France that advertised the colonial empires which were a part of the European economy.
1926 Empire Marketing Board: establish by British government, persuading citizens to do business with British colonies in the Middle East, Asia, Pacific Islands and the Americas (over 25% of the worlds population at that time). Over 800 lithographic posters were commissioned for this purpose between 1927-1933. Promoted a futuristic notion that strong colonies would buy more manufactured goods from Britain. Notion of brining “civilization” to the un-civilized… 1931, French International Colonial Exposition held in Paris (World’s Fair) – goal was to express a sense of community among the 54 nations under its control. |
|
|
design in Russia and Holland
|
This chapter focuses on the movements in Russia and Holland that pushed cubism to a pure geometric art and the formal approach to typographic design that subsequently emerged. In Russia, suprematism and constructivism were the origins, and key contributors included Kasimir Malevich, El Lissitzky, Alexander Rodchenko, Georgii and Vladamir Augustovich Stenberg, and Gustav Klutsis.
In Russia, the affects of WWI and the Russian Revolution created an environment that fostered creative growth in both art and design. This brief period had international repercussions in 20th-century graphic design. A philosophical shift between the beliefs of suprematist arts and constructivists resulted in constructivists renouncing “art for art’s sake.” In Holland, the movement was de Stijl, and included Théo van Doesburg, Piet Mondrian, Bart Anthony van der Leck, Vilmos Huszár, and architect Jacobus Johannes Pieter Oud. Their ideas were adopted in other countries, including Czechoslovakia, Hungary, and Poland. |
|
|
Dutch De Stijl - “The Style”
|
Common aim and utopian vision. Universal harmony. Response to the trauma of World War I.
Influenced by Cubism and geometric abstraction. Rejection of the decorative arts of Art Nouveau and over-emotional Expressionism. Favored a simple, logical style that emphasized construction and function. Appropriate for every aspect of modern life. |
|
|
details about: Dutch De Stijl - “The Style”
|
Launched in summer 1917, Leiden, Netherlands.
This movement sought universal laws of equilibrium and harmony for art, which could then be a prototype for a new social order. Its artists worked in an abstract, geometric style. Its founder and guiding spirit, Théo van Doesburg, was joined by painters Piet Mondrian, Bart Anthony van der Leck, and Vilmos Huszár, the architect Jacobus Johannes Pieter Oud, and others. With their proscribed visual vocabulary, these artists sought an expression of the mathematical structure of the universe and the universal harmony of nature. They believed the war was expunging an obsolete age, and science, technology, and political developments would usher in a new era of objectivity and collectivism. |
|
|
de stijl key players
|
Theo Van Doesburg
Piet Mondrian Bart van der Leck Gerrit Rietveld |
|
|
Théo van Doesburg
|
Founder and guiding spirit of the de Stijl movement.
Like Piet Mondrian, he reduced his visual vocabulary to the use of primary colors (red, yellow, and blue), with neutrals (black, gray, and white), straight horizontal and vertical lines, and flat planes limited to rectangles and squares. He applied de Stijl principles to architecture, sculpture, and typography. He edited and published the journal De Stijl from 1917 until his death in 1931. |
|
|
Piet Mondrian (1872–1944)
|
A painter who worked during the de Stijl movement. Like Théo van Doesburg, he reduced his visual vocabulary to the use of primary colors (red, yellow, and blue) with neutrals (black, gray, and white), straight horizontal and vertical lines, and flat planes limited to rectangles and squares. Influenced by cubism. developed his theory of elementarism.
|
|
|
Elementalism
|
Théo van Doesburg’s theory that declared the diagonal to be a more dynamic compositional principle than horizontal
and vertical construction.
|
|
|
Neo-Plasticism
|
Rejection of decorative excess or pre-war art and expressionism in general
|
|
|
De Stijl [journal]
|
Edited and published by Théo van Doesburg, this publication spread the de Stijl movement’s theory and philosophy to a larger audience.
It advocated the absorption of pure art by applied art.
|
|
|
constuctivism
|
Constructivist Congress, 1922
Avant-garde artists who pursued geometric abstraction as a means to a utopian end (included the artists of De Stijl and Russian Constructivism. |
|
|
Lubok / lubki –
|
– inexpensive woodcut that eventually were produced lithographically,
these prints combined text and image in a vibrant and festive palette of colors. Subjects included parables, folklore and political satire geared for a wide rage of audiences. These becomes a powerful influence in the evolution of Russian art. |
|
|
Cubo-futurism
|
The Russian avant-garde saw common traits in cubism and futurism and coined this term. (Also known as Rayonism). Experimentation in typography and design characterized their futurist publications, which presented work by the visual and literary art communities. Asserted after 1912.
|
|
|
Suprematism
|
A painting style of basic forms and pure color founded by Kasimir Malevich. Rejecting both utilitarian function and pictorial representation, this nonobjective geometric abstraction was meant to express pure feeling through visual form. Asserted around 1915. “The supremacy of pure feeling in creative art.” (abstract form = powerful emotion)
|
|
|
Kasimir Malevich
|
) Founded a painting style of basic forms and pure color that he called suprematism. He believed the essence of the art experience was the perceptual effect of color and form. He created a construction of concrete elements of color and shape. The visual form became the content, and expressive qualities developed from the intuitive organization of the forms and colors. He argued that art must remain an essentially spiritual activity, apart from the utilitarian needs of society
|
|
|
Constructivists
|
A group of twenty-five artists led by Vladimir Tatlin and Alexander Rodchenko, who renounced “art for art’s sake” to devote themselves to industrial design, visual communications, and applied arts serving the new communist society. This group called on artists to stop producing useless things such as paintings and turn to the poster, for “such work now belongs to the duty of the artist as a citizen of the community who is clearing the field of the old rubbish in preparation for the new life.” The three principles of this group’s work were tectonics, texture, and construction. (Malevich and Kandinsky maintained the opposing point of view remaining focused on the spiritual nature of art.)
Term coined in 1921. |
|
|
Tectonics
|
The principle of constructivism that represented the unification of communist ideology with visual form.
|
|
|
Texture
|
The principle of constructivism that dealt with the nature of materials and how they are used in industrial production.
|
|
|
Construction
|
The principle of constructivism that symbolized the creative process and the search for laws of visual organization.
|
