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Definition
| Means "pictures of the floating world" defines an art moement of Japands tokugawa period (1603-1867) Blended realistic narratives with influences from decorative design arts. Screen paintings depicting entertainment districts. Subjects- courtesans, prostitutes, erotica also the life of everyday ordinary people. Embraced the woodblock print. |
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| influencing characteristics of Japanese woodblock prints |
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Definition
| Collaboration between publisher, artist, block cutter, and printer. Had a major impact on western art but was also independetly achieved major achievment in design |
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First true international style. Thrived during 1890-1910. Spreading through trade and art exhibitions. Style that is able to be expressed in America as well as Europe. Look of art nouveau inspired by Asian art because of increased trade.
Curvilinear shapes and abstraction with vine like tendrils. Applied to graphic design, architecture, fashion- variety of products.
Influences also van Gogh and Degas |
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| Art Nouveau/ identifying characteristics |
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Definition
Art Nuoveaus visual quality is an organic, plantlike line. Vine tendrils, flowers, birds and the human female form are frequent motifs from which this fluid lin was adapted.
Organic linear movements frequently dominate the spatial area and other visual properties, such as color and texture. Basic forms and shapes were formed by the design of the ornament. Forms and lines often invented rather than copied from nature or the past. |
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| Father of the modern poster. He was convinced that pictoral lithographic posters would replace typographic letterpress posters. Worked on commissions. Transitions from Victorian to a simplistic form, using more scale and increase in letter size. Simplified his designs and begins using more scale. Beautiful women in the posters are called cherettes. Influenced style of womens clothing. Father of womens lib. Designed over a thousand posters. Used primary colors. Designed over 1000 posters. |
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Definition
Swiss born illustrator/designer. Developed a “coloring book style” thick black contour drawing with flat color (similar to medieval stained glass windows)
Influenced by medieval arts and Japanese wood block prints
His formal compositions and muted colors contrast to Cherets informal bright colors.
Posters features women in a static position. He also designed books and furniture. |
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| Henri de Toulouse- Lautrec |
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Definition
| Broke new ground in poster design with his 1891 poster La Goulue au Moulin Rouge. Developed a jounalistic, illustrative style that captured the nigh life of the beautiful era of nineteenth century paris. Produced only about 32 posters. |
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| Significant characteristics of "la Goulue au Moulin Rouge" |
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Definition
| Dynamic pattern of flat planes- black spectator's silhouettes, yellow ovals for lamps, aand the stark white undergarments of the can can dancer. Horixontal movement across the center of the poser. In profile is another dancer. Simplified symbolic shapes and dynamic spatial relationships form expressive and commuicative images. |
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| The Studio/ importance/ influence |
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Definition
| The first of a dozen European art periodicals. Created a strong momentum toward an international style. |
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Definition
English illustrator- was the enfant terrible of Art Nouveau. Stunning pen line, vibrant black and white, shocking and exotic images
Strong kelmscott influence but w/ distorted figures and replacing the formal borders with stylized flat patterns.
Sweeping lines
William Morris diskliked Beardsley's work and didn't want association with it.
Illustrated for Oscar Wilde as well as the Inland printer. |
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| Because of design complexity and muted colars his work lacked cherets impact from fra but once up close people were astounded. His dominant theme was a central female figure surrounded by stylized forms derived from plants and flowers. Stylized hair patterns became a hallmark of the era. Sarah bernhardt was pleased with his poster of her and signed him to a six year contract for sets, costumes, jewlery and posters. He didn't like the label "art nouveau" because he believed art was eternal but was still associated with the movement. |
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James Pryde and William Nicholson were brothers-in-law. Developed a new technique, later named collage.
Not influenced by art nouveau
Tried their hand at commercial work didn’t have a long career
Used sissors to cut out shapes |
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| In 1889 Art nouveau comes to America. WAs inspired by English sources. Bradley used beardsley's style as a stepping stone to fresh graphic technique and visual unity of type and image that moved beyond imitation. Made innovative use of photomechanical techniques to produce repeated overlapping and reversed images. Used flat shapes to represent figures and stylized contours.established wayside press. |
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| She was first American woman to achieve prominence as woman in graphic design. She goes to England to produce poster and then vanishes at only 22. |
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| 1890. This design satisfies the requirements of a successful trademark; it is unique, legible, and unequivocal, which explains why it has survived decades of fluctuating design approaches. Used still today. |
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Definition
| Dega painting similar to set up of letrecks poster. |
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Definition
| The swirling forms of VanGogh played a role in the inspiration of art nouveau |
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Definition
| his flat color and stylized organic contour played a role in the inspiration of art nouveau |
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| German magazine meaning youth. During the rist year the ciculation climed to 30,000 copies per week. Art nouveau ornaments and illustrations were on every editorial page. The Jugend logo changed appearance according to designers. |
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Definition
| Art Nouveau arrived in Germany. Term means young style and originates from the german youth magazine Jugend. |
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Definition
| Largely known for his large, multicolor woodblock prints. He was inspired by French art nouveau and Japanese prints. Created 5 covers, illustrations, and decorative borders for Jugend. Also designed Jewelry, objects, furniture, women's fashions, and a typeface known as 'eckmannshcrift' |
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| Dutch artist that influenced development throughout europe for art nouveau |
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| He was an artist and a teacher. A key person in Belgium. Influenced by William Morris. He synthesized sources into a unified style. Known for his essay (deblaiement d'art). Work evolved from plant motifs to rhythemic linear patterns. He did book designs for Nietzsche; they were his masterworks. His work was important for the 20th century art and architecture theory which stated design is as important as all other art. He was asked to Wieman to become a professor or director. Worked with and developed an arts and crafts workshop at the school. |
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Definition
| written by Henri Van de Veldecalled for a new art which would be contemporary in concept and form but possess the vitality and integrity of the great decorative and applied arts of the past. |
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| Frank Lloyd Wright (and influences) |
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Definition
American Architect. He designed furniture, graphics, stained glass, wallpaper. His work inspired designers from art nouveau to more rectalinear.
Inspired by Japanese architecture and design and pre Columbian arch. Operated a printing press in his basement as a young man. |
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Definition
| At the Glasgow school the headmaster pointed out the affinities between the work of Charles Rennie Mackintosh and J. Herbert McNair (evening students) and that of the sisters Margaret and Frances Macdonald. The four students began to collaborate and were known as the "four" or also the "glasgow school" 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. Their work ranged from melancholy expressions to elegant, simplified designes. The MacDonald sisters held strong religious beliefs and embraced symbolist and mystical ideas. Graphic designs by the four are distinguished by symbolic imagery and stylized form. Bold, simple lines define flat planes of color. |
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| School of art. In the early 1890s a group of Scottish artists became friends and later collaborated on work . (the four also became known as the glasgow school) |
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| Charles Rennie Mackintosh |
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Definition
| The most successful of the glasgow four. His main design theme is rising vertical lines, often with subtle curves at the ends to temper their junction with the hoirzontals. Tall slivers of rectangles and the counterpoint of right angles against ovals, circles, and arcs characterize his work. He created over 400 furniture designs. Fell in love with Margeret McDonald. He made many contributions to architecture and even designed a new building for the Glasgow school. He also desinged the queen cross church and Hill house. He recieved many commissions for his work. Charles eventually gets a drinking problem and his work goes downhill. |
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| The Vienna Secession came into being when the members of the Viennese Creative Artists' Association resigned in a stormy protest. Were upset about the refulsal to allow foreign artsists to participate in exhibitions but was mostly a clash between tradition and new ideas from France, England and Germany. The secession became a countermovement to the floral art nouveau that flourished in France and Germany. |
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| In Austria also known the Vienna Secession. |
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Definition
| He was the leader of the Vienna secession. Created the poster for the 1st Vienna secession exhibition. He called on Greek Mythology in this poster. |
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| The most beautiful turn-of-the century magazine was the Ver Sacrum (sacred spring) published from 1898 until 1903. Ver sacrum was more a design laboratory than a magazine. Continuously changed staff and design was a rotating committee of artists. Had an unusual square format. The covers often combined handlettering with bold line drawings printed in color on a colored background. |
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| Art designer who was a key member in the Vienna secession. He played a major role in defining the approach to graphic design. His poster for the 13th Vienna secession exhibition is a masterpiece of the mature phase. He was appointed to the faculty of the Vienna school for applied art. Along with Josef Hoffman launched the Wiener Werkstatte or the Vienna workshops. They were originally formed to produce designs by Moser and Hoffman. He left the workshops in 1907. |
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| Launched by Hoffmann and Moser in 1903. An outgrowth of Sezessionstil. this spiritual continuum of William Morris's workshops sought a close union of pure and applied arts in the design of lamps, fabrics, and similar objects for every day use, including books, greeting cards, and other printed matter. The workshops flourished and many other collaborators participated. |
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| Dutch architect. He was fascinated with geometric form and development an approach to teach design based on geometric composition. His work was part of the tentative beginnings of constructivism in graphic design. |
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| Played a major role in charting a course for design in the first decade of the new century. He sought typographic reform and was an early advocate of the sans-serif typography. A grid system was used to structure space. First "industrial designer" for manufactured products such as teapots interchangeable parts. |
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| in the year of 1907 marked the founding, in Munich of the Deutsche Werkbund which advocated a marriage of art with technology. Behrens played a major role in this. |
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| The reductive, flat-color design school that emerged in Germany in the early twentieth century. (poster style). |
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| In 1898 attends the Munich flaspalast exhibition of interior decoration. Returns just drunk with color and repaints his family home but his father isn't happy. Runs away at 15 needs money enters poster concert for Priester. His orginal design was too complex so he painted out all the other elements leaving only the matches and then added the word priester above them. He moved graphic communications one step further in the simplification and reduction of naturalism into a language of shape sign(a process started by toulouse-lautrec and continued by the geggarstaffs) Approach: 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. |
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Term
| The war poster and its significance and uses |
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Definition
Posters were important communications tool during ww1
Gov. used them for propaganda
Used for:
Recruiting
Boost morale (gov maintain popular support)
Fundraising to finaince war and new tech
Promoting conservation and gardening to lessen risk of shortages
Assailing the enemy for their barbarism and threat to civilization |
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| Compare Allied/ Central Powers Approach |
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Definition
Poster differences
Central powers (germany and Austria)
Continued Vienna secession traditions and simplicity of plakatstil
Words and images were integrated
Essence of the communication conveyed by simplifying images into powerful shapes and patterns
Us posters
Illustrater charles Gibson offered his services as art director to the division of picotial publicity (posters and other govt. propaganda
Magazine illustrators donated their time to design posters and faced new challenges
Change in scale
Viewing distance
Integrating lettering w/ image |
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Term
| Uses of Propaganda (5 stated in book) |
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Definition
| Allied propaganda was more illustrative withe literal rather than symbolic imagery used to address propaganda objectives. British posters called upon the need to protect traditional values, home and family. |
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Term
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Definition
| sketchy painting style. Created 46 posters in the year and a half of US involvement in the war. |
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Definition
| Swastika was adopted as the symbol for the Nazi party. Hitlers ideas gained a visual presence as the reptition of Hohlwein's images reinfoced Nazi propaganda. Bold imperial and millitaristic style of tight,, heavy forms and strong tonal contrasts. |
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Term
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Definition
| Plakatstil designer from Munich began his career as a graphic illustror. Was originally inspired by the Beggarstaffs. Reduced images to flat shapes. Applied texture and pattern to his images. WW1 combined simple shapes w/ naturalistic imagery. Designed propaganda posters for the Nazi party. His reputation as a significant graphic designer is seriously tarnished by his close collaboration with the Nazis. |
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Definition
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Term
| Modernist Pictorial Graphics |
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Definition
Modernist pictorial graphics in Europe focused on the total
integration of the word and image, which became one of the most
enduring currents of twentieth century graphic design. The approach
began with Bernhard's 1905 Priester matches poster, responded to the
communications need of WWI and the formal innovations of cubism and
other early modern-art movements, and emerged after the war to play a
major role in defining the visual sensibilities of the affluent 1920s
and the economically bleak 1930s |
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Term
| Designers that directly incorporated cubism |
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Definition
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Term
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Definition
| Applied modern art especially cubism to poster design. Designed 141 posters for London underground transport. Returns to Us during WW11 continues designing until Death in 1954. |
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Definition
| born in Ukraine. Immigrated to Paris. From 1923 to 36 revitalized French advertising. Bold simple designs emphasize two deimentionality. Composistions of broad implified planes of color. Integrated words and image into total composition. |
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Definition
| Incorporated Cubism into his work. |
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Term
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Definition
| Made a direct application of cubism to graphic design. |
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Term
| Bauhaus (weimar/ dessau/ berlin) |
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Definition
The Bauhaus years in Weimar (1919-24) were intensely visionary and drew inspiration from expressionism. sought new unity of artists to build for future.
Tensions with the gov. in Wiemar caused the school to move to Dessau. During this period the Bauhaus identity came to full fruition.
Gropius resigned in 1928 and Mies Van der Rohe became director. Nazi party dominated the city and canceled the faculty contracts so Mies Van Der Rohe tried to run Bauhaus from an empty telephone factory in Berlin. |
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Term
| Importance of the school and format |
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Definition
| 1919-1933 German design school. 20th century furniture, architecture, product design and graphics were shaped by the work of its faculty and students and a modern design aesthetic emerged. Sought new unity b/w art and technology. A modernist approach to visual education was developed and major contribution to visual theory was made. |
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Term
| Characteristics of Bauhaus Graphic Design |
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Definition
| Sought new unity b/w art and technology. Evolved from a concern for medievalism, expressionism and handicraft toward more emphasis on rationalism and designing for the machine. |
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Term
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Definition
| Formed the Bauhaus in 1919. He was an apprentice to Peter Behrens. Sought a new unity of art and technology. |
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Definition
| He designed the font Universal. 1921-1923 he was a student at Bauhaus. He was teaching lettering at Bauhaus by 1925. He was an advocate of small writing; he thought it was more economical. He saved money because he saved space on the page, thought it was easier to read. Gropius appointed him as a director of design. He used dynamic composition with strong horizontals and verticals. He left BH to go to Berlin and be an art director. Eventually he worked for modern museum of art in NY and Fortune Magazine. |
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Definition
| Developed from a careful analysis of content, permitting a functional and neutral sequence of information. In Herber Bayers poster (bauhaus) |
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Term
| Reasons for the end of the Bauhaus |
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Definition
| Nazi party dominated Dessau and cancelled the Bauhaus faculty contracts and harrassement from the Nazis made the continuance untenable. |
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Term
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Definition
| He was an apprentice to Peter Behrens for the Dusseldorf school of arts and crafts. A prominent Berlin architect whose design dictum 'less is more' became a major tenet of the 20th century design. Became a director at the Bauhaus. Tried to run Bauhaus from Berlin but was shut down by the Nazi party. |
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Term
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Definition
| said by Ludwig Mies van der Rohe- became major tenet of twentieth-century design. |
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Term
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Definition
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Definition
| Established the preliminary course which is the heart of bauhaus education. His goals were to release each students creative abilities, and to teach the fundamental principles of design underlying all visual art. He left Bauhaus in 1923 because of a disagreement for the conduct of the course. Gropius thought his work was 'otherworldliness' and that it was inconsistent with an emerging concern for an objective design language capable of overcoming the dangers of past styles and personal taste. Replaced by Laszlo Moholy-Nagy. |
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| Foundation Course and "truth o materials" |
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Definition
| At Bauhaus the preliminary course initially established by Johannes Itten. Goals were to release each studen'ts creative abilities and develop understanding of the physical nature of materials. Teach fundamental principles of design and underlying all visual art. |
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Definition
| Hungarian theorist of graphic design. Influenced by constructionism. Brings it with him to Berlin when he moves. He was asked to teach at BAuhaus. He took over Itten's intro course. He was Gropius's right hand man. 3D studies was the most well known part of his class. The constructed stuff out of paper instead of just writing it on paper. Used photomontage which he called fotoplastics. Also did photograms. He takes charge of type design for BH books. He introduced the intro of type desing. Recommended use of lowercase. Opened unsuccessful Bauhaus in Chicago; started school of design in Chicago. |
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Definition
| He launched the period called the Golden Age of American Illustration. Was an illustrator encouraged by Parsons. Published over 3,300 illustrations and two hundred texts ranging from children's fables to legend of King Arthur |
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Term
| The arts and crafts movement |
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Definition
Socialist reform movement, embraced designers, architects, artists of all type
Designer and craftsmen to create beautiful things to benefit society
Vowed to destroy commercial system and overthrow it
Celebration of all expression of art including minor crafts
Have crafts to be equal with all art. Elevate any craft to art
Reaction against the poor aesthetic quality of the industrial revolution in great Britain
Result was a celebration of the expressive potential in all art, including the nior crafts thereby restoring the dignity of even most humble worker
1840s-1920s |
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Term
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Definition
| Played a role in sperating graphic design from printing production. He had a great love of books. Comissioned new woodblock ornaments, initials, and illustrations. Revived Caslon types. |
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Term
| Book of the Common Prayer |
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Definition
| 1844 One of the finest examples of the revival of Gothic forms that permeated the 19th century. |
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Term
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Definition
| 1847 Pickerings edition is a landmark in book design.Diagrams and symbols are printed in brilliant primary colors with woodblocks; color replaced the traditional alphabet. Author claimed that with this approach geometry could be learned in 1/3 the time. |
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Definition
| was the writer that inspired philosophy of the arts and crafts movement. Rejects mercantile economy. Unification of art and craft to benefit society as a whole |
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| Notable leader of a+c movement; embraced Ruskin’s philosophies. I. Red house was name of his house was designed both the exterior and interior. establishes art decorating firm with six friends. Becomes sole owner and had complete control of firm. Designed over 500 designs for wall . Carpets draws from floral sources, medieval sources. Concerned with problems of industrialization. Wanted workers who created designs to find joy and beautiful things. Founded anti scrape- program the protected historical buildings. The kelmscott Chaucer 1896 – one of his greatest works. |
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Definition
| friends with William Morris. They were both planning on becoming clergymen and then decided to be artists instad. |
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Definition
| Set up by Arthur Mackmurdo who was inspired by Morris. In 1882 young artists were banded together with the goal of elevate all branches of art including design. Incorporated Japanese and Renaissance design ideas into work. Their designs provided a link from the A+C movement to art Nuevo. The Hoppy Horse was a publication that featured work of the Guild- 1884 paid attention to type setting and layout |
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Definition
| Was inspired by William Morris and established the Century Guild. Was a forefunner of the private press movement and the renaissance of book design. |
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Definition
| A typeface devloped by William Morris. Named because his original plan was to print The Golden Legend with this typeface. Based on the Venetian roman faces designed by Jenson. |
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Definition
| Enterprise by William Morris. WAs set up in 1890 and increased in size. Over 18 thousand volumes of fifty three different titles were produced |
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Definition
Tj Cobden Sanderson joined Emery Walker in establishing The doves press in 1900.
Wanted to attack problem of pure typography so imagery wouldn’t get in the way of the words. Beautiful typographic books that rejected ornamentation. In 1903 Doves press bible was designed by Edward Johnston
Press ends in 1960 |
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Definition
| Started the Doves press. He was originally a bookbinder. |
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Term
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Definition
| Oversaw the Hobby Horse and then later started the Doves press |
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Term
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Definition
| 1903 Monumental masterpiece of the books from the Doves Press. Remarkably beautiful typographic book. Five volume bible used stunning initials by Edward Johnston |
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Definition
| Master calligrapher of the A+C movement was inspired by William Morris. Abandoned his medical studies for the life of the scribe and designed initials in the Doves Press bible. |
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Definition
| German taught at an A+C school. Regarded the alphabet as supreme spiritual achievement of humanity. Sought the medieval experieence by hand lettering books and built upon the tradition. Neuland face was one of his designs. |
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Definition
| Dense, chunchky letterforms by Rudolf Koch. Woodcut inspired ornaments. 1922 |
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Definition
| Most important American book designer in early 21st century. Designed books with a strong a+c influence. Limited editions were developed with Rogers as the designer. Typeface design of centaur based on jenson. |
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Definition
| Typeface designer. Became a freelance designer. began association with Lanston momotype company and designed a total of 122 typefaces. |
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Term
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Definition
| Student of Goudys. Proved to be a highly literate book designer. First person to use the term "graphic design" |
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Term
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Definition
| Designed important revivals of Bodoni and garamond for the American type founders company. Designed aproximately 225 typefaces. |
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Term
| Positive impacts of the A+C movement on graphic design |
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Definition
| The legacy of the a+c movement extends beyond visual appearnaces. Attitudes about materials, function, and social value became an important inspiration for 20th cent. designers. Impact continues after Morris's death through revivlas of typefaces, continued efforts toward book design and typography and the private press movement that continues today. |
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Definition
| Reacting to a world gone mad, claimed to be antiart and had a strong negative and destructive element. Concerned with shock, protest and nonsense. Rejects all tradition- sought complete freedom. Dada is a word for a child's hobbyhorse and really has no relation to the movement (was choosen at random) |
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Term
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Definition
| Burst into Paris in 1924. Has roots in Dada. Searing for the "more real than real world behind the real" Dreams, and the unconsious realm explored by Freud explored. Humanity could be freed from social and moral conventions. Demonstrated how fantasy and intuition could be expressed in visual terms. |
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Definition
| Founded by Kasimir Malevich. A painting style of basic forms and pure color. After futurism and cubism. Elemental geometric abstraction. Construction of concrete elements of color and shape. |
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Term
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Definition
| Three principles are tectonics, texture, and contruction. Tectonics- unification of communist ideology with visual form; texture- nature of materials and how they are used in industrial production; and construction- the creative process and search for laws of visual organization. |
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Definition
| Was launched when the Italian poet Marinetti published his manifesto of futurism.Revolutionary movement for all the arts to test their ideas and forms against the new realities of scientific and industrial society. Writing and typography could become concrete and expressive visual form. |
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Definition
| Movement was launched in the Netherlands in 1917. working in abstract geometic style, sought universal laws of equilibrium and harmony for art, which could then be a prototype for a new social order. beauty= purity of work. |
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Definition
| Began a new artistic tradition and way of seeing that challenged the four hundred year REnaissance tradition of pictoral art. |
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Definition
| Tendency to depict not objective reality but subjective emotions and personal responses to subjects and events. Emerged as an organized movement in germany before WW1. color, drawing, and proportion were often exaggerated or distored, and symbolic content was very important. LIne and color were often pronounced; color and value contrasts were intensified. Rejeceted authority of military, education, goverment. |
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Definition
| Name given to the work of Picasso and Braque from 1910-1912. During this period they 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. The real subject is shapes, colors, textures, and values used in spatial relationships. |
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Definition
| In 1913 cubism evolved into synthetic cubism. Invented forms that were signs rather than representations of the subject matter. |
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Term
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Definition
| Applied elements of ancient tribal art to the human figure (masks and fabric) Worked with Braque to evolve cubism as the art moevement that replaced rendering appearances. |
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Definition
| Worked with Picasso toe evolve cubism as an art movement. |
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Definition
| Major painter in the development of synthetic cubism. Paintings such as fruit bowl. |
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Term
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Definition
| Joined cubist movement. Moved cubism away from the initial impulses of its founders. His style evolved toward art of pure color and shape relationships but also had style that was recognizable, accessible and populist. |
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Definition
| Italian poet. Published his Manifesto of Futurism in the paris newspaper and launched futurism. Established futurism as a revolutionary movement for all the arts to test their ideas and forms against the new realities of scientific and industrial society. |
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Definition
| French poet who was closely associated with the cubists (particularly picasso) involved in a rivalry with Marinetti. 1918 publication of book entitled Calligrammes, poems in which the letterforms are arranged to form a visual design, figure, or pictograph. Explored fushion of poetry and painting. |
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Definition
| Published by Fortunato Depero in 1927- compilation of his typographical experiments, advertisements, tapestry designs, and other works. Precursor of the artists book.Published as a creative expression independent of the publishing establishment. |
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Term
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Definition
| Applied futurist philosophy to graphic and advertising design. Produced dynamic body of work in poster and design. Shifted from social realism and symbolism to futurism. Worked in New York and designed covers for magazines including Vanity Fair. |
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Definition
| French painter joined the Dada movement and became its most prominent visual artist. Philosophy on absolute freedom allowed him to create ready-made sculpture ex: urinal as art. |
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Definition
| Poet who opened the Cabaret Voltaire in Switzerland. |
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Definition
| Opened by Hugo Ball. In Zurich, Switzerland as a gathering place for independent young poets, painters, and musicians. |
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| Hungarian poet was Dadas guiding spirit. Edited the periodical DADA. explored sound , nonsense and chance poetry. Wrote steady stream of Dada manifestos. |
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| Dada artists claim to have invented photomontage- the technique of manipulating found photographic images to create jarring juxtapostitions and chance associations. |
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| From Germany, created a nonpolitical offshoot of Dada that he named Merz. One man art movement. His merz pictures were collage compositions using printed ephemera, rubbish and found materials to compose color against color, form against form and texture against texture. Combined Dada elements of nonsene and chance with strong design properties. Published periodical Merz and ran a successful graphic design studio |
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| One man art movement founded by Kurt Schwitters. Merz is coined from kommerz (commerce) from one of his collages. Combined Dada elements of nonsene and chance with strong design properties. |
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| John Heartfield (Helmut Herzfelde) |
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| Berlin Dadaist held vigourous revolutionary political beliefs and oriented many artistic activities toward visual communications to promote social change. John Heartfield is the english name adopted by Helmut Herzfelde as a protest against german militarism. Used harsh disjunctions of photomontage as a propaganda weapon and innovated in the preparation of mechanical art for offset printing. Targeted Weimar republic and nazi party. Fled to Prague after being raided and continued his graphic propaganda. Was on a secret Nazi list of enemies and fled to London. |
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| French writer who was associated with the dadaists. emerged as a new leader who believed that Dada had lost its relevance, making new directions necessary |
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| Constructivist who best realized ideals of supremist. Painter, architect, graphic designer, and photogrepher. Developed painting style caled PROUNS |
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| Founder of De Stijl movement. Reduced visual vocabularty to primary colors and neutrals... similar to van der leck |
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| declared first Surealist painter. painted hauntingly empty vistas, vancant buildings, harsh shadows, tilted perspective. |
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| Berlin dadaist. oriented work toward visual communication for social change. attacked corupt society with satire and caricature. |
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| German dadaist used number of techniques that have been adopted in graphic communications. Ernst reinvents 19th century wood engravings by using collage techniques to create strange juxtaposition. Frottage technique involve using rubbings to compose directly on paper. Decalcomania- process of transferring images from printed matter to a drawing or painting, enabled him to incorporate variety of images in his work in unexpected ways. |
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| Belgian surrealist used jolting and ambiguous scale changes, defied laws of gravity and light, created unexpected juxtapositions and maintained a poetic dialogue b/w reality and illusion, truth and fiction. |
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| Spanish painter influenced gd in two ways: deep perspectives inspired designers to bring vast depth to the flat printed page; his naturalistic approach to simulataneity has been frequently imitated. |
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| One group of expressionists began in Munich in 1911. redifined art as an object without subject matter whose perceptual properties are able to convey unexpressed feelings. Founding members included Wassily Kandinsky and Paul Klee. |
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| Swiss artist founded the blue rider (group of expressionist art). Synthesized inspirations from all the modern movements as well as childrens art achieving an intense subjective power while contributing to the objective formal vocabulary of modern art. Graphic signs and symbols with strong communicative power. |
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| Russian led der blaue reiter and became leading advocate of art. Wrote book on argument for nonobjective art capable of conveying emotions from the artist to the observer through purely visual means w/o subject atter or literal symbols. |
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| american artist fell under the dada spell. moved to paris and evolved to surrealism. worked as a professional photographer while applying dada and surrealism to phtography using both darkroom manipulation and bizarre studio seups. Explred solarization, rayographs (camera less prints) |
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| Russian constructivism (political basis for, ideology) |
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| Founded a pinting style of basic forms and pure color. He called suprematism Elemental geometric abstraction rejected utilitarian function and pictorial representation. |
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| Communist who experimented with typography. Produced graphic designs with strong geometric construction large areas of pure color, concise, legible lettering. Bold san serif lettering. Interest in photomontage. |
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| Painting style developed by Lissitzky. Acronym for "projects for the establishment of a new art". Introduced 3D illustions that both receded and projected from the picture plane. Interchange station b/w painting and architecture. |
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| "the isms of art 1914-24" |
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One of the most influential graphic designs of the 1920s was this book which Lissitzky edited with the dadais Hans Arp.
Three column horizontal grid structure for title page and three column vertical grid for text. Two column structure for organized pictures. |
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| Painter who helped launch De Stijl. Paintings evolved from traditional landscape to symbolic style. Purged his art of all representative elements and moved cubism toward a pure, geometric abstraction. Horizontal and vertical lines and used only primary and neutral colors. |
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| De Stijl artist. Turned to nonrepresentational painting. Became director at Bauhaus. Collaborated with Gropius. |
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| Movement was launched in the Netherlands in 1917. working in abstract geometic style, sought universal laws of equilibrium and harmony for art, which could then be a prototype for a new social order. beauty= purity of work. |
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