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Early%20Modernism

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Title: Early%20Modernism


1
Early Modernism
  • 1910-1935

By Kerstin Ricca
2
Early Influences
  • Early Modernism was a movement characterized by
    its deliberate break from design patterns and
    traditions of the past.
  • Reacting against Victorian sensibilities, and
    distraught by political and social upheavals
    across the globe, these artists sought to create
    a new concept of design through experiments in
    simplicity, geometry, color, and photography.
  • Early modern designers drew inspiration from
    modern art movements, and frequently traveled
    through Europe to draw inspiration from each
    other as well.

3
Early Influences
  • Early pioneers of Modernism began to experiment
    with geometric forms.
  • A major player in the early days of Modernism,
    Peter Behrens designed for the Allgemeine
    Elektrizitats-Gesellschaft (AEG). (Top)
  • This cover for the Berlin Electric Works Magazine
    (bottom right, 1908) demonstrates his geometric
    approach to design problems.
  • Edward Johnston contributed an exclusive typeface
    for the London Underground, in addition to this
    revised symbol (bottom left) which was used until
    1972.

4
Modern Art Influences
  • Around the world, modern art was in a constant
    state of change. Pressing economic and political
    turmoil pushed artists to find new ways of
    expression, resulting in a series of modern art
    movements that went on to influence graphic
    design.

5
Cubism
  • Cubism began to appear in the first part of the
    20th century. Cubist art often displayed its
    subject using a series of geometric planes,
    allowing the viewer to see multiple angles in one
    piece.
  • The geometric abstraction present in Cubist
    paintings became a pivotal influence on modernism.

Left Woman with a guitar, by Georges Braque,
1913 Right Le Guitarist Pablo Picasso 1910
6
Futurism
  • Futurism was a movement launched by Filippo
    Marinetti, designed to express the speed and
    noise of 20th century life.
  • Futurist artwork used typography and writing as
    its own expressive means. Words used color,
    character attributes, and position to express
    what images could not.

Top Carlo Carra, Guerrapittura (War-Painting),
1915. Bottom Cover and page design for Zang
Tumb Tumb Adrianopoli Ottobre 1912 by Filippo
Marinetti.
7
Dada
  • Dada was a short-lived movement reacting to the
    horrors that fell on society during and after
    World War I.
  • Dadaists sought to destroy tradition through the
    use of shock and nonsense, and the movement
    became a means for protest with a deep underlying
    negativity.

Left Dada 6 (Bulletin Dada), Tristan Tzara
1920 Right John Heartfield, Hitler tells fairy
tales II, INSCRIPTION ...and then the poor
German Michel screamed so long, that finally the
whole world believed him Help, help, I'm
surrounded!
8
Surrealism
  • Artists found a means of expressing fantasy and
    intuition through Surrealism.
  • Surrealist works often included dream-like
    images, unexpected juxtapositions, and
    non-sequiturs.

Top The Difficult Crossing by Rene Magritte,
1926. Bottom Left The Red Tower by Giorgio de
Chirico. 1913. Bottom Right Salvador Dali.
(Spanish, 1904-1989). The Persistence of Memory.
1931.
9
Expressionism
  • Expressionism extended beyond its subject to
    depict emotions and personal responses using
    color, line and proportion.
  • Images were often exaggerated or distorted in
    symbolic representation.

Top Woman with Dead Child by Kathe Kollwitz,
etching, 1903 Bottom Left On White II by
Wassily Kandinsky, 1923. Bottom Right Henri
Matisse. Portrait of Madame Matisse. (The green
line). 1905
10
Photography
Left Man Ray (Rayograph) Untitled, Center
Alvin Langdon Coburn, Vortograph, 1917 Right Man
Ray, Le Violon d'Ingres, 1924
  • Although not a new medium, photography was
    rapidly developing during this time period.
    Artists began to explore photographic options
    such as multiple exposures, and differences in
    light and shadow.
  • Often these photographic discoveries intersected
    with surrealism, resulting in dream-like images.

11
Art Nouveau
  • Art Nouveau was a movement characterized by its
    simplification of objects.
  • Subjects were drawn with very little detail, and
    little or no tonal variation. Modernists expanded
    on this idea, simplifying objects even further.
  • The result was a mechanized, often geometric
    representation of subjects that embodied the
    cultural shift toward reliance on technology and
    industry.

Left Folies-Bergere, Jules Cheret Right
Ambassadeurs, Henri de Toulouse-Lautrec
12
Plakatstil (Poster style)
  • Early expressions of modernism are evident in the
    simplistic and flat-colored Plakastil (poster
    style) design school. Plakatstil artists often
    included nothing more than a single background
    color, a large simple image, and the product
    name.
  • The Sachplakat movement in Switzerland was
    closely related to the Plakatstil, sharing
    characteristics of minimalism.

Left Ludwig Hohlwein, Gaba (bookplate),
1926 Center Otto Baumberger, Hotel St. Gotthard
Zurich, 1917 Right Lucian Bernhard,
Breisgau-Perle, 1914
13
Political Social Climate
  • The political and social climate during the first
    part of the century was a major catalyst for
    modernist ideas.
  • Starting before World War I, many countries were
    facing growing tensions and unrest in the social
    order.
  • These tensions became evident in the design world
    as modernists sought to break from past
    ideologies, and experiment with new forms that
    echoed their dissatisfaction with tradition.

14
World War I
  • With the onset of World War I in 1914, applied
    art took on a new role as a means of propaganda.
  • Countries seeking to justify their involvement in
    the war to end all wars launched poster
    campaigns to acquire resources necessary for the
    conflict, and to garner support from the public.
  • Modernist ideals of simplistic form and geometric
    expression are evident in these examples of
    propaganda from various countries.

15
The Nazi Rising
  • The National Socialist German Workers (Nazi)
    Party, led by Adolf Hitler, rose to power during
    the economic and political turmoil in Germany
    that followed World War I.
  • Hitler and the Nazi party launched a massive, and
    psychologically powerful propaganda effort in
    order to advance their views and gain power.
  • These posters, like propaganda used during World
    War I, embody the ideals of modernist theory.
    Even the swastika symbol of the Nazi party
    (right) embraces the pure geometric form loved by
    modernists.

16
The Russian Revolution and the Spread of Socialism
  • Like Germany, Russia was facing serious political
    and economic turmoil following the war.
  • Political and social upheavals resulted in the
    overthrowing of Czar Nicholas II and the end of
    Russias Romanov dynasty.
  • Shortly after, the Bolshevik party led by
    Vladimir Lenin, gained power, establishing rule
    in what was to become the Soviet Union.
  • Under the new socialist regime, the artists sole
    purpose was to advance socialist theory. Art for
    arts sake was denounced, and artists who refused
    to comply were severely punished. Unable to
    express themselves, many artists and designers
    perished in the Gulags (Soviet prison and labor
    camps).

17
Constructivism
  • A result of changes in Russia (USSR), a new
    movement of art and architecture called
    Constructivism was born.
  • Constructivists believed that pure art had no
    purpose in society, and that arts only
    application was to serve the new socialist
    regime.
  • Dominant motifs in constructivist art include
    minimal use of colors (generally red, black, and
    white), and a strong geometric element.

Klutsis, Gustav, Millions of qualified workers
for the 518 new factories, 1931
Advertising poster for the state airline
Dobrolet. 1923. A. Rodchenko and V. Stepanova
Archive, Moscow
18
Constructivism
  • Constructivist artists, such as El Lissitzky,
    experimented with photomontage and abstraction in
    shapes.

Beat the Whites with the Red Wedge, 1919 El
Lissitzky
Proun 12E, El Lissitzky, 1923
Top Photomontage study Bottom Exhibition
poster, El Lissitzky, 1929
19
De Stijl
Composition with Yellow, Blue, and Red,
1939-1942, Piet Mondrian
  • De Stijl was a short, yet influential, movement
    launched in the Netherlands in summer 1917.
  • De Stijl artists sought universal harmony and
    order through the use of pure abstraction.
    Subjects were reduced in form and color.
  • Characteristics of classic De Stijl design
    include strong horizontal and vertical
    components, and the use of primary colors with
    black and white.
  • Proponents of De Stijl include its founder, Theo
    van Doesburg and Piet Mondrian.

Arithmetische Compositie, 1924, Theo van Doesburg
20
Bauhaus
  • At the height of the Modernist movement emerged
    one of the most influential design schools of all
    time, the Bauhaus.
  • The Bauhaus was opened in 1919 in Weimar, and
    closed in 1933 as a result of Nazi persecution.
  • Even after its closing, the Bauhaus continued to
    leave its mark on the world, through influences
    on graphic design, architecture, and furniture
    design.

21
Bauhaus
  • Faculty and students from all over the world
    united at the Bauhaus to combine new design
    approaches using elements from a variety of
    movements.

Bauhaus Ausstellung Poster, Fritz Schleifer, 1922
Staatliches Bauhaus, Weimar, 19191923, 1923,
Walter Gropius
22
Die Neue Typographie
  • Jan Tschichold became an advocate of Modern
    design after attending the first Bauhaus
    exhibition in Weimar.
  • By applying modernist principles to everyday
    design problems, Tschichold introduced a new
    approaches to a wide audience.
  • His 1928 book, Die Neue Typographie, outlined
    these new approaches and condemned all but sans
    serif fonts. Though he later denounced this work
    as being too rigid, Die Neue Typographie remains
    a classic.

Der Berufsphotograph Poster, Jan Tschichold, 1938
We do not know why, but we can demonstrate that
a human being finds planes of definite and
intentional proportions more pleasant or more
beautiful than those of accidental
proportions. Jan Tschichold, The Form of the
Book, 1975
Konstruktivisten Poster, Jan Tschichold 1937
23
Modernism in Furniture Design
  • Modernist ideals became a pivotal influence in
    other areas of design as well.
  • These examples show how furniture reflected
    modernist principles.

Nonconformist Chair, Eileen Gray
Red and Blue Chair, Gerrit Rietveld, 1917
The Barcelona Chair, Mies van der Rohe
The Barrel Chair, Frank Lloyd Wright
24
Modernism in Architecture
  • These examples show modernisms influence on
    early and present day architecture.

The Bauhaus Gropius House in Lincoln,
Massachusetts, Walter Gropius
I.M. Pei, Architect - Herbert F. Johnson Museum
of Art at Cornell University
The Berlin Holocaust Memorial, Peter Eisenman.
25
References
  • Elam, Kimberly. Geometry of Design. Princeton
    Architectural Press, 2001.
  • Meggs, Philip B and Alston W. Purvis. Meggs
    History of Graphic Design. John Wiley Sons,
    Inc., 2006.
  • http//en.wikipedia.org/ Online.
  • http//www.moma.org Online.
  • http//www.colophon.com/ Online.
  • http//www.artic.edu/reynolds/essays/hofmann.php
    Online.
  • http//www.kentgallery.com/exhdia.htm Online.
  • http//www.artic.edu/aic/ Online.
  • http//www.getty.edu/ Online.
  • http//www.masters-of-photography.com Online.
  • http//www.internationalposter.com Online.
  • http//www.nga.gov.au/Home/index.cfmwww.popartuk.c
    om Online.
  • http//architecture.about.com Online.
  • http//www.firstworldwar.com Online.
  • http//gds.parkland.edu/gds/!lectures/history/1915
    /modern.html Online.
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