DOCSLIB.ORG

Pictorial Modernism PICTORIAL MONDERNISM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pictorial Modernism PICTORIAL MONDERNISM ANM102 | HISTORY OF GRAPHIC AND WEB DESIGN CHAPTER 14 Pictorial Modernism PICTORIAL MONDERNISM The Beggarstaffs • Brothers-on-law, James Pryde and William Nicholson opened an advertising design studio in 1894 and to protect their reputations as fine artists, they named it The Beggarstaff Brothers. They developed a new technique that was later called collage. By cutting pieces of paper, moving them around and pasting in position on a board, they created flat plans of color where the edges of the shapes were “drawn” with scissors. • Unlike Art Nouveau, the Beggarstaffs forged a new beginning of design focused on powerful colored shapes and silhouettes rather than organic and decorative form. PICTORIAL MODERNISM 2 PICTORIAL MONDERNISM Poster Design in Europe • The European poster in the first half of the 20th century was greatly influenced by the modern-art movements surrealism, cubism, and dadaism. Designers were aware of the need to use pictorial references in their posters as a way to visually enhance and ultimately communicate more persuasively their views. Influenced mostly by cubism and constructivism, poster artists combined expressive and symbolic images as well as total visual organization on the picture plane. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 3 POSTER DESIGN The Beggarstaffs • poster for Harper’s Magazine, 1895 PICTORIAL MODERNISM 4 POSTER DESIGN The Beggarstaffs • poster for Don Quixote, 1896 • never printed because the director/producer of the play felt the image was a bad likeness of Quixote. PICTORIAL MODERNISM 5 POSTER DESIGN Dudley Hardy • British painter who joined The Beggarstaffs in creating posters and advertising design • Theatrical poster for The Gaiety Girl, 1898 • Developed a formula for theatre poster design where letters and images appeared on a flat plane of color PICTORIAL MODERNISM 6 PICTORIAL MONDERNISM Plakastijl • A design school originating in Germany— the name means “poster style.” • The traits of Plakastijl are usually bold, straight lettering with a very simple design. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 7 POSTER DESIGN Lucien Bernhard • Considered the founder of the Plakastijl movement. • His first poster created for Priester matches, in 1905. • His style moved graphic design one step closer in the simplification and reduction of naturalism into a visual language of shape and sign. PICTORIAL MODERNISM 8 POSTER DESIGN Lucian Bernhard Posters • Manoli cigarettes, 1910 • Stiller shoes, 1912 • Adler typewriters • Bosch sparkplugs PICTORIAL MODERNISM 9 POSTER DESIGN Hans Rudi Erdt • Plakastijl posters • modern adaptation of the style PICTORIAL MODERNISM 10 TYPE DESIGN Berthold Type Foundry • Block Type, 1910 • Early twentieth- century German sans- serif typefaces were based on Bernhard’s poster lettering. PICTORIAL MODERNISM 11 POSTER DESIGN The War Posters • During WWI posters became an important medium for communication • Governments used posters for visual persuasion and propaganda. • Lucien Bernard for a war loan campaign. • Alfred Leete, recruiting • James Montgomery Flagg • J. Paul Verrees, victory gardens PICTORIAL MODERNISM 12 POSTER DESIGN Joseph C. Leyendecker • poster celebrating a successful bond drive, 1917 • Leyendecker’s painting technique of slablike brush strokes makes this poster distinctive PICTORIAL MODERNISM 13 POSTER DESIGN Abram Games • poster to recruit blood donors, c. 1942 • placing the soldier inside the diagram of the blood bottle cements the connection between the donor’s blood and the soldier’s survival PICTORIAL MODERNISM 14 POSTER DESIGN Saville Lumley • “Daddy, What Did YOU Do During the Great War?,” poster, 1914 PICTORIAL MODERNISM 15 POSTER DESIGN Jesse Willcox Smith • poster for the American Red Cross, 1918 • public display of graphic symbols showing support for the war effort were encouraged • viewers are asked if they have a service flag, which signified that their household had supported the Red Cross effort, and emphasized the public’s contribution to the war effort by appealing to patriotic emotions PICTORIAL MODERNISM 16 POSTER DESIGN Ludwig Hohlwein • leading Plakastijl designer • designed this fund- raising poster, 1914 • a graphic symbol (the red cross) combines with a pictorial symbol (a wounded soldier) in an appeal with emotional power and strong visual impact PICTORIAL MODERNISM 17 POSTER DESIGN Ludwig Hohlwein • poster for the Deutsche Lufthansa, 1936 • mythological winged being symbolizes the airline, German victory in the Berlin Olympics, and the triumph of the Nazi movement • concert poster, 1938 PICTORIAL MODERNISM 18 POSTER DESIGN Ludwig Hohlwein • recruiting poster, early 1940s • In one of Hohlwein’s last Nazi posters, a stern and somber soldier appears above a simple question, “And you?” PICTORIAL MODERNISM 19 POSTER DESIGN Art Deco • A popular design movement in the 1920 and 30s. • An extension of Art Nouveau, this movement focused on a more architectural style, described as elegant, sophisticated, and glamorous as well as functional and modern. • Ludwig Hohlwein was a leader in this style. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 20 POSTER DESIGN Ludwig Hohlwein William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 21 POSTER DESIGN Art Deco • posters and advertising generally featured glamorous, “high-class” society. • Typography had a strong vertical structure and was generally a clean, sans serif style often with linear embellishments. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 22 POSTER DESIGN Art Deco • was a significant design influence on product design and architecture as well as graphics. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 23 POSTER DESIGN Art Deco Today William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 24 POSTER DESIGN E. McKnight Kauffer • London Underground poster, 1930 • Lyrical muted colors capture the idyllic quality of the rural location PICTORIAL MODERNISM 25 POSTER DESIGN A. M. Cassandre • set up his own advertising agency called Alliance Graphique, serving a wide variety of clients during the 1930s • posters for Dubonnet, 1932 • DUBO (doubt): man eyes his glass uncertainly • DU BON (of some good): the beverage is tasted • DUBONNET: the product is identified as the glass is refilled PICTORIAL MODERNISM 26 POSTER DESIGN A. M. Cassandre • In addition to Dubonnet Cassandre’s other notable clients were steamship lines and railways • simple designs were characterized by broad planes of color, diagonal shapes, exaggerated perspective reminiscent of the cubists, and integrating typography into the composition. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 27 POSTER DESIGN A. M. Cassandre • modern promotion for the movie Ratatouille was influenced by Cassandre’s Dubonnet poster series. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 28 POSTER DESIGN A. M. Cassandre • Peignot typeface designed by Cassandre replaces lower case letters with small caps. • Also designed by Cassandre, the Bifur typeface replaces some strokes with lines • Both are classic Art Deco fonts William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 29 POSTER DESIGN Austin Cooper • English graphic designer influenced by the cubist and collage-inspired posters. • created this poster for the Southern Railway, showing fragments of a paris trip. PICTORIAL MODERNISM 30 POSTER DESIGN Austin Cooper • poster for the London Underground, 1934 • color conveys the comfort of warmer temperatures in the underground railway during winter • and cooler colors during the warmer months PICTORIAL MODERNISM 31 POSTER DESIGN Austin Cooper William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 32 K E Y T E R M S Plakatstil (poster style) Art deco the reductive, flat-color design school that emerged in popular geometric works of the 1920s and 1930s, which Germany early in the twentieth century; it employed to some extent were an extension of art nouveau. It flat background colors; large, simple images; and signified a major aesthetic sensibility in graphics, product names. architecture, and product design during the decades between the two world wars. The influences of Mein Kampf (My Struggle) cubism, the Bauhaus (see Chapter 16), and the Vienna written by Adolf Hitler to set forth his political Secession commingled with de Stijl and suprematism philosophy and political ambitions for Germany. He (discussed in Chapter 15), as well as a mania for wrote that propaganda “should be popular and should Egyptian, Aztec, and Assyrian motifs and a passion for adapt its intellectual level to the receptive ability of decoration. 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. PICTORIAL MODERNISM 33 K E Y T E R M S Plakastijl Art Deco Lucien Bernhard A.M. Cassandre Ludwig Hohlwein Austin Cooper William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 34.
Load more

Recommended publications
  • Pop Art Media Group
    Pop Art Media Group Outdoor Advertising, Event Publicity and Print June 2018 Pop Art Media Group Window Graphics Festival Advertising 6-sheet Illuminated Lamppost units 48-sheet, Hyde Park Corner Pop Art is the Leeds specialist for masterminding outdoor and experiential advertising campaigns. We first set up shop in 1991, printing and distributing posters for local gigs amid a burgeoning Leeds 90’s music scene. We have since evolved into a team of experienced professionals collaborating with clients in various market sectors from local businesses to some of the largest global brands. Students A GeneraǗon Y Pop Art Media Group C Youth B GeneraǗon X Street Sites Poster Drums Advertising Trailers 4-sheet Trinity Arcade T-Shirts Our established portfolio of high profile sites across Leeds and other major UK cities, as well as on-site media opportunities at local events and the UK’s most loved national festivals has helped us build a reputation for highly targeted, cost effective campaigns. Our full in-house production enables fast turnaround and keeps costs down. Our portfolio and range of services has grown over the last six months with the addition of new large format outdoor locations in Leeds and increased printing capacity. Pop Art Media Group Stage backdrops Digital Display Promotional Events Internal Poster Sites Portfolio capacity as follows; 8m x 2m full motion digital billboard 96 sheet billboards x 2 48-sheet billboards x 3 16-sheet billboards x 1 6-sheet illuminated panels x 140 4-sheet poster drum and framed sites x 600+ • Combined Opportunity-to-see (OTS) figures in excess of 2 million per week • Discounts available for multiple bookings across our media network.
    [Show full text]
  • Master Artist of Art Nouveau
    Mucha MASTER ARTIST OF ART NOUVEAU October 14 - Novemeber 20, 2016 The Florida State University Museum of Fine Arts Design: Stephanie Antonijuan For tour information, contact Viki D. Thompson Wylder at (850) 645-4681 and [email protected]. All images and articles in this Teachers' Packet are for one-time educational use only. Table of Contents Letter to the Educator ................................................................................ 4 Common Core Standards .......................................................................... 5 Alphonse Mucha Biography ...................................................................... 6 Artsits and Movements that Inspired Alphonse Mucha ............................. 8 What is Art Nouveau? ................................................................................ 10 The Work of Alphonse Mucha ................................................................... 12 Works and Movements Inspired by Alphonse Mucha ...............................14 Lesson Plans .......................................................................................... Draw Your Own Art Nouveau Tattoo Design .................................... 16 No-Fire Art Nouveau Tiles ............................................................... 17 Art Nouveau and Advertising ........................................................... 18 Glossary .................................................................................................... 19 Bibliography .............................................................................................
    [Show full text]
  • Versidad Autónoma Metropolitana, Unidad Azcapotzalco
    Este material tiene fines pedagógicos y su función es servir como apoyo en las prácticas educativas que se llevan a cabo en las licenciaturas que se imparten en la División de Ciencias y Artes para el Diseño de la Universidad Autónoma Metropolitana, unidad Azcapotzalco. En este sentido, el único fin de esta obra es generar y compartir material de apoyo para el proceso de enseñanza-aprendizaje en el campo del diseño. Asimismo, el autor de esta presentación es responsable de todo su contenido y la obra se encuentra protegida bajo una licencia de Creative Commons 4.0. Para más información se puede consultar el sitio https://creativecommons.org/. Escuela tipográfica alemana del estilo gótico hasta nuestros días Apoyo A lA UEA Clave UEA: 1424013 Nombre UEA: Temas Selectos de Tipografía Clave UEA 1423014 Nombre UEA: Teoría y metodología Aplicada I (Apoyo a Diseño de Mensajes Gráficos) Guión argumental Revisar los tipógrafos e impresores clave de la escuela alemana del estilo gótico hasta nuestros días y su influencia en desarrollo de la forma tipográfica en el pasado a la actualidad. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 1 Escuela tipográfica alemana del estilo gótico hasta nuestros días Objetivo Conocer las generalidades y los momentos clave de la historia de la tipográfica alemana desde el estilo gótico hasta la fecha, desarrollando criterios propios para asociar forma y producción al contexto histórico y su aplicación. Desarrollar una apreciación de los diversos estilos históricos alemanes desde el estilo gótico a la fecha, y como estos sirvieron de base para formar criterios, encontrar el estilos tipográficos apropiados para proyectos de diseño e interpretar un nuevo estilo tipográfico con las herramientas digitales.
    [Show full text]
  • Hajo Christoph Papers MG
    A Guide to the Hajo Christoph Papers Collection Summary Collection Title: Hajo Christoph Papers Call Number: MG-195 Creator: Hajo Christoph Inclusive Dates: June 28,1926 - May 27, 1977 Bulk Dates: Abstract: Materials relating to the activities of Hajo Christoph, specifically his time working for the Fort Orange Paper Company designing graphic designs, and time spent as a member of the Albany Artists Group. Quantity: 2 linear feet Administrative Information Custodial History: Donated as a gift by Peter and Flo Christoph Preferred Citation: Hajo Christoph Papers. Albany Institute of History & Art Library, New York. Acquisition Information: Accession #: Accession Date: Processing Information: Processed by Brendan Peabody; completed on March 2, 2010. Restrictions Restrictions on Access: None Restrictions on Use: Permission to publish material must be obtained in writing prior to publication from the Chief Librarian & Archivist, Albany Institute of History & Art, 125 Washington Avenue, Albany, NY 12210. Index Term Persons Bernhard, Lucian (04/15/1883-05/29/1972) Brashear, Peter C. (1868-1943) Corning, Erastus 2nd (1909-1983) Justus, Donald C. (Mayor of Castleton on Hudson in 1970’s) Latham, William G. (1896 -1953) Organizations Fort Orange Paper Company- Castleton on the Hudson (N.Y.) Embossing Company of Albany Albany Artists Group Subjects Commerce-Advertising Fine Arts-Commercial Art Fine Arts- Advertising Art Fine Arts-Visual Arts-Exhibitions Immigration Industry-Manufacturing Industries Places Berlin (Germany) Castleton on Hudson (N.Y.) New York (N.Y.) Document Types Awards Photographs Correspondences License Memoir Newspaper Articles Magazine Articles Catalogs Certificates Programs Titles Biography of Hajo Christoph Hajo is not his actual birth name, but rather it is used as a trademark for his graphic designs.
    [Show full text]
  • The Art of Reading: American Publishing Posters of the 1890S
    6. Artist unknown 15. Joseph J. Gould Jr. 19. Joseph Christian Leyendecker 35. Edward Penfield 39. Edward Penfield CHECKLIST The Delineator October, 1897 (American, ca. 1876–after 1932) (American, 1875–1951) (American, 1866–1925) (American, 1866–1925) All dimensions listed are for the sheet size; Color lithograph Lippincott’s November, 1896 Inland Printer January, 1897 Harper’s July, 1897 Harper’s March, 1899 9 9 height precedes width. Titles reflect the text 11 /16 × 16 /16 inches Color lithograph Color lithograph Color lithograph Color lithograph 9 1 1 1 3 3 as it appears on each poster. The majority Promised Gift of Daniel Bergsvik and 16 /16 × 13 /8 inches 22 /4 × 16 /4 inches 14 × 19 inches 15 /8 × 10 /4 inches of posters were printed using lithography, Donald Hastler Promised Gift of Daniel Bergsvik and Promised Gift of Daniel Bergsvik and Museum Purchase: Funds Provided by Promised Gift of Daniel Bergsvik and but many new printing processes debuted Donald Hastler Donald Hastler the Graphic Arts Council Donald Hastler 7. William H. Bradley during this decade. Because it is difficult or 2019.48.2 (American, 1868–1962) 16. Walter Conant Greenough 20. A. W. B. Lincoln 40. Edward Henry Potthast THE ART OF READING impossible to determine the precise method Harper’s Bazar Thanksgiving Number (American, active 1890s) (American, active 1890s) 36. Edward Penfield (American, 1857–1927) of production in the absence of contemporary 1895, 1895 A Knight of the Nets, 1896 Dead Man’s Court, 1895 (American, 1866–1925) The Century, July, 1896 documentation,
    [Show full text]
  • Pop Impressions : [Brochure] Europe/USA
    Pop impressions : [brochure] Europe/USA Author Museum of Modern Art (New York, N.Y.). Department of Prints and Illustrated Books Date 1999 Publisher The Museum of Modern Art, Department of Prints and Illustrated Books Exhibition URL www.moma.org/calendar/exhibitions/183 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art SomPI o o 4v cb ^ Jhe Museum of Modorn Art Library Moh* /"yJLIa POPIMPRESSIONS EUROPE/USA the medium. At Hamilton's urging, in 1964 London's Printsand Multiples from The Museum ofModern Art Institute of Contemporary Arts published a ground Pop art pervaded the culture of the 1960s and became breaking portfolio of twenty-four screenprints by as intertwined with the lifestyle of its time more than any many artists. The project launched the medium as a vital other aesthetic movement of the twentieth century. It tool for creative expression among contemporary flourished out of an era of unprecedented economic British artists, many of whom made their first screen- prosperity, whose manifestations became the fodder for print for this project. Several other adventurous and far- Pop's artistic upheaval.The broad appeal of its accessi sighted British publishers, including Editions Alecto and ble imagery and vivid, bright designs permanently Petersburg Press,who understood printmaking's poten expanded the audience for art. tial as the ideal vehicle to meld Pop's audacious imagery Printed images permeated the Pop vision, and fun with its democratic ideals, undertook ambitious projects damental principles of printmaking —including concepts with artists ranging from Peter Blake and David Hock- of transference and repetition —underlay the artistic ney to Allen Jones and Jim Dine.
    [Show full text]
  • Rare Posters
    Public Auction #009 Rare Posters Conjuring, Circus, and Allied Arts For sale at public auction March 26 2011 at 11:00 am Exhibition March 22 - 25 Potter & Potter Auctions, Inc. 3729 N. Ravenswood Ave. -Suite 116- Chicago, IL 60613 Thank you for downloading the digital edition of this catalog. Hard copies can be purhased at our website, www.potterauctions.com. To view detailed, color images of each lot and to place bids online for items in this catalog, please visit our partner website, www.liveauctioneers.com. Introduction Magic is the oldest of the theatrical arts. Its earliest origins was frequently shown with diminutive red devils or imps were in Shamanism and the priesthood. By the time of ancient perched on his shoulder or whispering (presumably arcane Egypt, clever conjurors were using many of the same tricks secrets) in his ear. Some of these portraits include a background performed by magicians today to convince the masses of their which suggests that the person pictured is a magician or the supernatural power. In the thousands of years since its earliest portrait itself is stylized in such a manner as to suggest that recorded beginnings, magic moved from the temples of ancient the person is a mystery worker or, at the very least, an exotic times to the street corners and fairs of the Middle Ages, then personality. Notable in this regard are the portrait lithographs into taverns and drawing rooms and, finally, onto the stage and of Chung Ling Soo, Alexander, and Cater. Also in this category television. are some posters which only vaguely suggest an illusion being When the art of conjuring split from its religious and performed, such as the poster for The Great Rameses.
    [Show full text]
  • L'affichomania
    FICHOMAN L’AF IA THE PASSION FOR FRENCH POSTERS THE PASSION FOR FRENCH POSTERS 1 FICHOMAN L’AF IA THE PASSION FOR FRENCH POSTERS elebrating the inexhaustible spirit of fin-de-siècle Paris, L’Affichomania: The Passion for French Posters features approximately 62 lithographic posters, ephemera, and videos by the five grand masters of the medium: Jules Chéret, the father of the modern poster; Eugène Grasset, who explored feminine beauty in rich, medieval settings; Alphonse Mucha, known for depicting sensuous women and the whiplash curves of their tresses; Théophile-Alexandre Steinlen, creator of some of the best-loved images of the era; and finallyHenri de Toulouse- Lautrec, who pointed the way to modernism. These pioneering artists defined a never-before-seen and never forgotten art form: the color poster. L’Affichomania explores the achievements of these artists in concert with the poster’s role in French society, which includes its effect on the life of the Parisian street, the rise of advertising, the entertainment district of Montmartre, and the changing representations of women. 1 2 L’AFFICHOMANIA These pioneering artists defined a never-before-seen and never forgotten art form: the color poster. Showcasing some of the most iconic era known as the Belle Époque. Drawn Cover Alphonse Mucha, Princess Hyacinth, 1911, color lithograph, photograph by John Faier, © The images of the time, the exhibition is from the Driehaus Collection of Fine Richard H. Driehaus Museum, 2015 1 Jules Chéret, composed of six groupings, five of and Decorative Arts, and organized by Folies-Bergère/La Loïe Fuller, 1893, color lithograph, photograph by John Faier, © The Richard H.
    [Show full text]
  • Bernhard Modern Mostly Self-Taught, Bernhard Studied Briefly at the Munich Art Academy Before Going to Berlin in 1901
    >> “You see with your eyes, not with your brain. What you do with your hands should express the physical process and should never be 1883 - 1972 mechanical.” — Lucian Bernhard The life and work of is his enduring masterpiece of Lucian Bernhard. Lucian Bernhard was a German graphic designer, type designer, illustrator, painter, teacher, interior designer, and artist during the first half of the twentieth century. He was born in Stuttgart, Germany on March 15, 1883 as Emil Kahn, but changed his name in 1905. The family of typefaces he developed is called Bernhard. Bernhard Modern Mostly self-taught, Bernhard studied briefly at the Munich Art Academy before going to Berlin in 1901. He was influential in helping create the design style known as Plakastil (Poster Style), which used reductive imagery and flat-color as well as Sachplakat (Functional Poster), which restricted the image to simply the object being advertised and the brand name. These styles of poster design incorporated brief powerful statements with a single image and generated their own form of display lettering. designers. designers. without counting on the ink spread.” - Lucian Bernhard type design. It is considered a decorative and display font. Lucian Bernhard was one of this century’s eminent graphic “My aim was to get all the spice and contrast into the contour... Bernhard was a professor at the Berlin School of Arts & Crafts. In 1923, he emigrated to the United States, where he lived until his death on May 29, 1972. Bernhard had three children - Karl, Manfred and Ruth, a renowned photographer. 1 1883-1972 * Lucian Bernhard 2 Bernhard’s father was a physician and wanted him to follow a career in medicine.
    [Show full text]
  • Past Exhibition “A Good Poster Cannot Alphonse Just Be an Enlarged Illustration.” —Alain Weill Mucha Art Nouveau / Nouvelle Femme
    Past Exhibition “ A good poster cannot Alphonse just be an enlarged illustration.” —Alain Weill Mucha Art Nouveau / Nouvelle Femme June 20–October 6, 2019 The stylized, confident women ofAlphonse The image of this Nouvelle Femme (New Woman) Mucha’s posters changed the landscape of modern became a staple in Mucha’s work, replacing the advertising and made him the most important submissive advertising ladies of previous years who graphic designer of the Art Nouveau period. enticed the viewer with girlish, passive sexuality. When he arrived in Paris at the height of the Belle His method of presenting self-satisfied, strong Époque, the city was the center of a rich industrial females can be traced back to his collaborations economy, where women were exploring new social with Sarah Bernhardt, the most famous actress independence and agency. of that time. Together, she and Mucha crafted her public image of a successful, independent woman many times over, ultimately bringing that practice into his other commercial work. 2 Defined by bold, sinuous lines inspired by nature, Art Nouveau celebrated the feminine unbound. In the wake of the Industrial Revolution, “le style Mucha” came to dominate the European and American aesthetic landscape between the 1890s–1910s, and Mucha is credited for bringing the bourgeois sophistication of the Art Nouveau movement to the streets and democratizing it. No longer was this wild, haughty beauty confined to the upper classes. In fact, the women he conjured were so compelling and his technical skill as a lithographic artist so admired that his advertisements were reprinted as home decor, blurring the line between fine and commercial art.
    [Show full text]
  • Art Nouveau French Posters: Berthon, Grasset & Mucha
    Haggerty Museum of Art, Marquette University, June 8 - September 10, 2006 Works in the Exhibition 1.) Paul Berthon Salon des Cent, 17e Exposition Art Nouveau French Posters: Berthon, Grasset & Mucha (Salon des Cent, 17th exhibition), 1897 Lithograph The Milton and Paula Gutglass Collection 18 3/4 x 14 1/8 in. (47.5 x 36 cm) 2.) Paul Berthon During the 1890s, developments in color lithography Mai (May), 1898 helped make posters the dominant form of mass communication Color lithograph and spawned a poster craze. With new technological advances, 25 x 10 7/8 in. (63.5 x 27.5 cm) artists and master printers could create large scale images which 3.) Paul Berthon appealed to both advertisers and art collectors. This interest in La Vague (The Wave), 1899 printmaking was responsible for the spread of Art Nouveau Color lithograph 25 1/2 x 16 1/2 in. (64.8 x 41.9 cm) style lithographs across Europe and America. The term Art Nouveau appeared in periodicals such as 4.) Paul Berthon L’art moderne and was advertised by Samuel Bing whose Paris La Viole de Gambe gallery was called the Maison de l’Art Nouveau. This “new” (The Viola da Gamba), 1899 Color lithograph style was at the height of popularity from 1892 through the 23 5/8 x 14 1/2 in. (60 x 37 cm) first decade of the twentieth century. At the turn of the century the Universal Exposition in Paris showcased Art Nouveau in 5.) Paul Berthon Les Pipeaux (The Reedpipes), 1899 every medium. The style is characterized by organic, sinuous Color lithograph and asymmetrical lines inspired from nature.
    [Show full text]
  • Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
    Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress.
    [Show full text]