Overview
The Futurists
Dada
Constructivism
Bauhaus
The early 20th Century
Before we look at those avantgardeist movements of the early 20th century
that are particularly relevant to contemporary Graphic Design we should
look at the overall definition of modernism in art: For
some critics, the most important characteristic of modern art is its
attempt
to make
painting
and sculpture
ends in themselves,
thus
distinguishing
modernism from earlier forms of art that had conveyed the ideas of powerful
religious or political institutions. Because modern artists were no longer
funded primarily by these institutions, they were freer to suggest more
personal meanings. This attitude is often expressed as art for art's
sake,
a point of view that is often interpreted as meaning art without political
or religious motives.
Another theory claims that modern art is by nature rebellious and that
this rebellion is most evident in a quest for originality and a continual
desire to shock. The term avant-garde, which is often applied to modern
art, comes from a French military term meaning “advance guard,” and suggests
that what is modern is what is new, original, or cutting-edge. To be sure,
many artists in the 20th century tried to redefine what art means, or attempted
to expand the definition of art to include concepts, materials, or techniques
that were never before associated with art. In 1917, for example, French
artist Marcel Duchamp exhibited everyday, mass-produced, utilitarian objects—including
a bicycle wheel and a urinal—as works of art. Another key characteristic
of modern art is its fascination with modern technology and its embrace
of mechanical methods of reproduction, such as photography and the printing
press. In the early 1910s Italian artist Umberto Boccioni sought to glorify
the precision and speed of the industrial age in his paintings and sculptures.
Cultural historians have related the fragmentation of form in late-19th-
and early-20th-century art to the fragmentation of society at the time.
The increasing technological aspirations of the industrial revolution widened
the rift between the middle and the working classes. Women demanded the
vote and equal rights. And the view of the mind presented by the founder
of psychoanalysis, Sigmund Freud, stipulated that the human psyche, far
from being unified, was fraught with emotional conflicts and contradictions.
The discovery of X rays, physicist Albert Einstein's theory of relativity,
and other technological innovations suggested that our visual experience
no longer corresponded with science's view of the world.
Not surprisingly, various forms of artistic creativity reflected these
tensions and developments. In literature, James Joyce, T. S. Eliot, and
Virginia Woolf experimented with narrative structure, grammar, syntax,
and spelling. In dance, Sergei Diaghilev, Isadora Duncan, and Loie Fuller
experimented with unconventional choreography and costume. And in music,
Arnold Schoenberg and Igor Stravinsky composed pieces that did not depend
on traditional tonal structure.
Music not only took its place among the most experimental of the arts,
but it also became a great inspiration for visual artists. Many art critics
in the late 19th and early 20th centuries were influenced by German philosophers
Arthur Schopenhauer and Friedrich Nietzsche, who had proclaimed that music
was the most powerful of all the arts because it managed to suggest emotions
directly, not by copying the world. Many painters of the late-19th-century
symbolist movement, including Odilon Redon and Gustave Moreau, tried to
emulate music’s power of direct suggestion. By including abstract forms
and depicting an imaginary, rather than an observable, reality in their
paintings, Redon and the symbolists paved the way for abstract art.
"Modernism". http://encarta.msn.com.
Retrieved 02/06/2005.
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Futurism
The futurists, a group of Italian artists working between 1909 and 1916,
shared Léger's enthusiasm for technology, but pushed it even further. As
their name suggests, the futurists embraced all that glorified new technology
and mechanization and decried anything that had to do with tradition. They
declared a speeding automobile to be more beautiful than an ancient Greek
statue.
In combining Picasso's fragmentation of form with Seurat's pointillist
painting technique, Dynamism of a Soccer Player (1913, Museum of Modern
Art, New York City) by Umberto Boccioni is typical of futurism. But the
most noticeable feature of Boccioni’s many-legged soccer player is its
depiction of motion. To achieve this sense of motion, the futurists drew
upon sequential photographs of human movement by photographer Eadweard
Muybridge and scientist Etienne-Jules Marey. "A galloping horse," the
futurists proclaimed, "has not four legs but twenty." Like
Léger, the futurists believed that a new society could be built only
if citizens
sacrificed their individuality for the good of the larger group. The
new ideal human being suggested in Boccioni's painting would be more
machine
than man: strong, energetic, impersonal, even violent. Other futurist
painters are Giacomo Balla, Carlo Carrà, and Gino Severini.
The painter and sculptor Umberto Boccioni (1882-1916) wrote the Manifesto
of Futurist Painters in 1910 in which he vowed:
"We
will fight with all our might the fanatical, senseless and snobbish
religion of the past, a religion encouraged by the vicious existence
of museums. We rebel against that spineless worshipping of old
canvases, old
statues and old bric-a-brac, against everything which is filthy
and worm-ridden and corroded by time. We consider the habitual
contempt for everything
which is young, new and burning with life to be unjust and even
criminal."
The printed word was extremely important to Futurism;
the movement's beginnings were based in poetry and literature produced
in magazines, pamphlets and books. Also, the reliance on the large number
of widely circulated manifestos for the dissemination of the polemic
doctrines and artistic theories of Futurism almost made it the product
of an advertising machine.
The Italian millionaire poet, writer and originator of Futurism,
Filippo Tommaso Marinetti, founded the international magazine Poesia
(Poetry)
in 1905. Marinetti was on a personal crusade to liberate poetry and
literature from the constraints of traditional punctuation and syntax
and, from the very beginning, he used Poesia to launch the idea of
verso libero (free verse). In 1909, in his Founding Manifesto of Futurism,
he stated "Up to now, literature has exalted a pensive immobility,
ecstasy, and sleep. We intend to exalt aggressive action, a feverish
insomnia, the racer's stride, the mortal leap, the punch and the slap." Poesia
ran from 1905 until 1909 by which time the style and layout had become
outmoded. The last issue carried Marinetti's Futurist Political Manifesto.
The cover was designed by Alberto Martini and each issue was produced
with a different cover colour. In
1912 Marinetti published his Technical Manifesto of Futurist Literature
in which he urged writers to "banish punctuation, as well as adjectives,
adverbs, and conjunctions." Verso libero gradually evolved into
parole in libertà (words-in-freedom) the purpose of which Marinetti
outlined in his manifesto Destruction of Syntax - Imagination without
Strings - Words-in-Freedom of 1913.
"I
initiate a typographical revolution aimed at the bestial, nauseating
idea
of the book of passéist and D'Annunzian verse, on Seventeenth
Century handmade paper bordered with helmets, Minervas, Apollos,
elaborate red initials, vegetables, mythological missal ribbons,
epigraphs, and
roman numerals. The book must be the Futurist expression of our
Futurist thought. My revolution is aimed at the so-called typographical
harmony
of the page, which is contrary to the flux and reflux, the leaps
and bursts of style that run through the page. On the same page,
therefore,
we will use three or four colours of ink, or even twenty different
typefaces if necessary. For example: italics for a series of
similar or swift sensations, boldface for violent onomatopoeias,
and so on.
With this typographical revolution and this multicoloured variety
in the letters I mean to redouble the expressive force of words."
The mass production and distribution of the manifesto ensured an influence
on typography internationally with, for example, the Russian El Lissitzky
quoting Marinetti in his writings on new typography. Marinetti's own
book, Zang Tumb Tumb (1914) typifies the style and feeling of words-in-freedom
and is a milestone in typographic design. The book is an account of
the Turkish Battle of Adrianopolis of 1912 in which Marinetti volunteered.
Words-in-freedom are used onomatopoeically to graphically illustrate
the explosions of weapons and grenades and the noise of battle.
With its dynamic formats and striking use of colour and typography,
Marinetti's words-in-freedom concept was seized upon by the Futurists
resulting in many books in a similar style while Francesco Cangiullo's
book Caffè-Concerto - Alfabeto a sorpresa (Café-Chantant - Surprising
Alphabet), of 1916 (printed in 1919) took words-in-freedom to the
extreme and used letters of differing heights, weights and typefaces
to form all the pictures. Since the Futurist movement was born
of the machine age, to the Futurists the design and production of
a book was symbolic of that age. Modern
materials and methods were employed - for example Fortunato Depero's
famous 1927 Depero Futurista (also known as The Nailed Book) employed
two aluminium bolts as a fastening method. Even
if the method of bookbinding was new and innovative, the inside of
the book was just as inspired (click here). Printed on different
colours and weights of paper, the text in words-in-freedom style,
was a stimulating typographical experience. There was no right or
wrong
way to hold the book and the layout necessitated turning the book
around in order to read it. Some five years after Depero's mechanical
bookbinding was produced, Marinetti produced Parole in libertà: olfattive,
tattili, termiche
(Words-in-freedom: olfactory, tactile, thermal) in 1932 using metal
sheets for pages in the ultimate mechanical book.
Futurists dubbed
the love of the past "pastism", and its proponents "pastists" (cf.
Stuckism). They would sometimes even physically attack alleged
pastists, in other words, those who were apparently not enjoying
Futurist exhibitions
or performances. The Futurists' glorification of modern warfare
as the ultimate artistic expression and their intense nationalism
allowed those of them who survived
World War I to embrace Italian fascism. Futurism influenced many
other 20th century art movements, including Art Deco, Vorticism,
Constructivism and Surrealism. Futurism as
a coherent artistic movement is now regarded as extinct, having
died
out in the
1920s;
many of the Futurists were killed in two world wars, and Futurism
was, like science fiction, in part overtaken by 'the future'. Nonetheless
the ideals of futurism remain as significant components of modern
Western
culture;
the emphasis on youth, speed, power and technology finding expression
in much of modern commercial cinema and culture. Powerful echoes
of Marinetti's thought, especially his "dreamt-of metallization
of the human body",
also remain in Japanese culture, and surface in manga/anime and
the works of artists such as Shinya Tsukamoto, director of the "Tetsuo" (lit. "Ironman")
films. Futurism has produced several reactions, including the literary
genre of cyberpunk - in which technology was often treated with
ambivalence - whilst artists who came to prominence during the
first flush of
the internet, such as Stelarc and Mariko Mori, produce work which
comments
on futurist
ideals.
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http://www.colophon.com. Retrieved 02/06/2005
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Futurist typography
and book design

Fortunato Depero


Tommasso Marinetti


Francesco Cangiullo

Ardengo Soffici
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Dada
The slaughter of World War I affected artists in different ways. Some
felt, as Mondrian did, that human betterment lay in the creation
of an impersonal, mechanistic way of life, whereas others agreed
with Dix that it lay in drawing attention to political problems.
Still others concluded that the very idea of human betterment was
a pointless illusion. For this group, the main lesson of the war,
if anything, was the bankruptcy of reason, politics, technology,
and even art itself. On this premise, several artists and poets
founded a movement whose name, dada, was purposely meaningless,
and whose members ridiculed anything having to do with culture,
politics, or aesthetics. Centered at first in Zürich, Switzerland,
dada later spread to Berlin, Paris, and New York City. Among its
members were German poet Hugo Ball,
German artist Kurt
Schwitters,
Romanian poet Tristan Tzara, German
artists John
Heartfield, Raul Haussmann,
American artist Man Ray, and French
artists Jean
Arp, Marcel Duchamp, and
Francis Picabia. The dadaists attacked the idea of art or poetry
by creating collage constructions from discarded junk, such as
Kurt Schwitters’s Painting with Light
Center (1919, Museum of Modern Art, New York City). They also would
write satirical poems by picking
words out of a hat. Chance and accident were among the dadaists’
most common creative devices.
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Dada
Typography

Dada Poster

The Dada Manifesto

John Heartfield

Raul Haussmann


Kurt Schwitters
Dada
Collages


Marcel Duchamp

Raul Haussmann
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Constructivism
In art and architecture, constructivism was an artistic movement
in Russia from 1914 onward in favour of "pure" art with no
social function which used designs influenced by, and materials used
in, industry. It was founded by Vladimir Tatlin,
with later prominent constructivists including Alexander
Rodchenko, Antoine Pevsner and Naum
Gabo. Kasimir Malevich also
made pieces that could be called constructivist, though he is better
known for his earlier suprematism. The movement was an important
influence on new graphic design techniques championed by El
Lissitzky.
The suprematists, like Kandinsky, believed that abstraction could
convey a religious connotation. In 1915 Malevich painted a black square
on a white background and exhibited it in the corner of a room—the
traditional location for a Russian icon (religious image). According
to Malevich, the term suprematism was meant to evoke the “supremacy
of pure feeling.” The square symbolized sensation; the field or background,
nothingness. What Malevich wanted to depict was the pure essence of
sensation itself, not a sensation connected to a specific experience
such as hunger, sadness, or happiness.
The constructivists sought an art that would be abstract, yet easily
understood. Their sculptures celebrated the material properties of
objects, such as texture and shape. Influenced by Picasso's techniques
of collage and construction, Tatlin created sculptures without using
the traditional techniques of carving or modeling. Whereas carving
requires removing materials to reveal a sculpted form, construction
is an additive process by which the artist combines ordinary materials
such as metal and wood to build a sculpture. Unlike Picasso, Tatlin
never painted or altered his materials, preferring instead to have
their untouched surfaces relay their true nature. In his proposal for
a Monument to the Third International (1919-1920, wooden model in the
Russian State Museums, Saint Petersburg), Tatlin designed a huge metal
structure that would celebrate the foundation of the new Soviet state.
He intended it to be taller than the Eiffel Tower in Paris and to have
internal rotating elements that would house government offices, some
rotating once a day, some once a month, some once a year. This highly
impractical monument was never built, but it exemplifies several tendencies
of modern art: its tendency to express utopian ideals, to experiment
with new materials and techniques, and to blur the boundaries between
fine art and engineering.
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Constructivist
Typography
Possibly
one of the most important graphic designers who ever lived, constructivist
artist and architect El Lissitsky's
book design work is unsurpassed even today. El Lissitsky worked in
Western Europe as well as Russia, collaborating with De Stijl architect
Theo Van Doesburg.
View "Tale
of 2 quadrants" >>> by
El Lissitsky.
View "Proun" series >>>
by El Lissitsky.

El Lissitsky. Self portrait, collage and photography


Book of poems for Mayakovsky


El Lissitsky
Yet another giant of early 20th century graphic design Alexander
Rodchenko is representative of the mainstream of
Russian constructivist typography:






Alexander Rodchenko
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Bauhaus
Is the name of the famous German school of design that had inestimable
influence on modern architecture, the industrial and graphic arts,
and theater
design. It was founded in 1919 by the architect Walter
Gropius in Weimar
as a merger of an art academy and an arts and crafts school. The Bauhaus
was based on the principles of the 19th-century English designer William
Morris and the Arts and Crafts movement that art should meet the needs
of society and that no distinction should be made between fine arts
and practical crafts. It also depended on the more forward-looking
principles that modern art and architecture must be responsive to the
needs and influences of the modern industrial world and that good designs
must pass the test of both aesthetic standards and sound engineering.
Thus, classes were offered in crafts, typography, and commercial and
industrial design, as well as in sculpture, painting, and architecture.
The Bauhaus style, later also known as the International
Style, was
marked by the absence of ornament and ostentatious facades and by harmony
between function and the artistic and technical means employed.
In 1925 the Bauhaus was moved into a group of starkly rectangular glass
and concrete buildings in Dessau especially designed for it by Gropius.
In Dessau the Bauhaus style became more strictly functional with greater
emphasis on showing the beauty and suitability of basic, unadorned
materials. Other outstanding architects and artists on the staff of
the Bauhaus included the Swiss painter Paul Klee, the
Russian painter
Wassily Kandinsky, the Hungarian painter
and designer László
Moholy-Nagy (who founded the Chicago Institute of Design on
the principles of the Bauhaus), the American painter Lyonel
Feininger, and the German painter
Oskar Schlemmer. Herbert
Bayer and Joost
Schmidt were the prominent graphic designers affiliated with the Bauhaus
school.
In 1930 the Bauhaus came under the direction of the architect Ludwig
Mies van der Rohe, who moved it to Berlin in 1932. By 1933, when the
school was closed by the Nazis, its principles and work were known
worldwide. Many of its faculty immigrated to the United States, where
the Bauhaus teachings came to dominate art and architecture for decades.
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Bauhaus Typography
Stark in
its simplicity
and usage of sans-serif typefaces (a Bauhaus school innovation in itself), the
graphic designers have been a lasting major influence in all graphic
design schools that have followed them.

Joost Schmidt

Herbert Bayer's "Bauhaus" typeface





Assorted posters and brochures from the Bauhaus school.

Laszlo Moholy-Nagy
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