Jan and Edith Tschichold Papers, 1899-1979, Bulk 1920-1938
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bauhaus Weimar Dessau Berlin Chicago Shreveport
weimar bauhaus dessau berlin chicago shreveport modernism101.com rare design books 2012 catalog modernism101.com The Road to Utopia is easy to find if you know how to read the signs. In the United States the road ran through Boston out to the colonial suburbs of Lincoln, then down to New Canaan and New York City. It dominated the Philadelphia skyline for years. The road detoured south- ward through Asheville and the Blue Ridge Mountains, and is still readily apparent radiating outward from Chicago. The Road to Utopia was the route of the Bauhaus immigrants and aco- lytes spreading the idea — “Art and Technology: A New Unity!” — throughout the New World. Walter Gropius founded the Bauhaus in 1919 Weimar to reconcile the disparity between the craftsman tradition and machine age mass-production. Gropius gathered the cream of the European Avant-Garde to his cause — visionaries with names like Wassily, Oskar, Marcel, László and Farkas. These visionaries believed in Utopia, political and social perfection. The political and social systems of the era failed to reciprocate. The United States, slowly recovering from the deprivations of the Great Depression, provided fertile soil for these Utopians as the lights slowly and surely went out all over Europe. The central thesis of this catalog is that American culture was forever changed by the immigrants who fled Europe before World War II. All aspects of American culture — art, ar- chitecture, design, advertising, photography, film — were infinitely en- riched by these fugitives’ ideals. I merged onto the Road to Utopia during a visit to the Gropius House in Lincoln, Massachusetts. -
Hebrew Type Design in the Context of the Book Art Movement and New
Philipp Messner Hebrew Type Design in the Context of the Book Art Movement and New Typography "New Book Art" ("Neue Buchkunst") was the motto under which efforts were made, in the spirit of the English Arts and Crafts Movement, toward the revival of book and type design in turn-of-the-twentieth century Germany. This revival movement perceived itself as a reaction to the country's accelerated industrialization, especially since the founding of the Reich in 1871. The replacement of traditional craft by increasingly industrial production lines effected a variety of everyday consumer products, including the manufacturing of books. According to contemporary commentators this led to deterioration in the material and aesthetic quality of books. Similarly to other industrially manufactured products around the turn of the century, an expectation emerged for books to have a contemporary, functional, and materially sound form. This demand encompassed all aspects of the book, including printing types. Consequently, visual artists were now engaged to design typefaces. Early examples were still heavily influenced by Art Nouveau, but after World War I there was a turn to historical forms with a bias toward handwritten scripts. This was influenced largely by the English calligrapher and type designer Edward Johnston, who taught at the Central School of Arts and Crafts in London. His calligraphic method, which he based on old handwriting forms, became famous in Germany, in part thanks to the work of his pupil and translator, Anna Simons. Type design issues thus received a notably traditional treatment, defined above all by intensive engagement with historical forms. This tendency largely defined the personal styles of Franzisca Baruch and Henri Friedlaender. -
Jan Tschichold and the New Typography Graphic Design Between the World Wars February 14–July 7, 2019
Jan Tschichold and the New Typography Graphic Design Between the World Wars February 14–July 7, 2019 Jan Tschichold. Die Frau ohne Namen (The Woman Without a Name) poster, 1927. Printed by Gebrüder Obpacher AG, Munich. Photolithograph. The Museum of Modern Art, New York, Peter Stone Poster Fund. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Jan Tschichold and the New February 14– Typography: Graphic Design July 7, 2019 Between the World Wars Jan Tschichold and the New Typography: Graphic Design Between the World Wars, a Bard Graduate Center Focus Project on view from February 14 through July 7, 2019, explores the influence of typographer and graphic designer Jan Tschichold (pronounced yahn chih-kold; 1902-1974), who was instrumental in defining “The New Typography,” the movement in Weimar Germany that aimed to make printed text and imagery more dynamic, more vital, and closer to the spirit of modern life. Curated by Paul Stirton, associate professor at Bard Graduate Center, the exhibition presents an overview of the most innovative graphic design from the 1920s to the early 1930s. El Lissitzky. Pro dva kvadrata (About Two Squares) by El Lissitzky, 1920. Printed by E. Haberland, Leipzig, and published by Skythen, Berlin, 1922. Letterpress. The Museum of Modern Art, New York, While writing the landmark book Die neue Typographie Jan Tschichold Collection, Gift of Philip Johnson. Digital Image © (1928), Tschichold, one of the movement’s leading The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. © 2018 Artists Rights Society (ARS), New York. designers and theorists, contacted many of the fore- most practitioners of the New Typography throughout Europe and the Soviet Union and acquired a selection The New Typography is characterized by the adoption of of their finest designs. -
Graphic Design in the Postmodern Era
Graphic Design in the Postmodern Era By Mr. Keedy This essay was based on lectures presented at FUSE 98, San Francisco, May 28, and The AIGA National Student Design Conference, CalArts, June 14, 1998. It was first published in 1998 in Emigre 47. Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital "M," which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small "m." It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be. -
Photo/Graphics Michel Wlassikoff
SYMPOSIUMS 1 Michel Frizot Roxane Jubert Victor Margolin Photo/Graphics Michel Wlassikoff Collected papers from the symposium “Photo /Graphisme“, Jeu de Paume, Paris, 20 October 2007 © Éditions du Jeu de Paume, Paris, 2008. © The authors. All rights reserved. Jeu de Paume receives a subsidy from the Ministry of Culture and Communication. It gratefully acknowledges support from Neuflize Vie, its global partner. Les Amis and Jeunes Amis du Jeu de Paume contribute to its activities. This publication has been made possible by the support of Les Amis du Jeu de Paume. Contents Michel Frizot Photo/graphics in French magazines: 5 the possibilities of rotogravure, 1926–1935 Roxane Jubert Typophoto. A major shift in visual communication 13 Victor Margolin The many faces of photography in the Weimar Republic 29 Michel Wlassikoff Futura, Europe and photography 35 Michel Frizot Photo/graphics in French magazines: the possibilities of rotogravure, 1926–1935 The fact that my title refers to technique rather than aesthetics reflects what I take to be a constant: in the case of photography (and, if I might dare to say, representation), technical processes and their development are the mainsprings of innovation and creation. In other words, the technique determines possibilities which are then perceived and translated by operators or others, notably photographers. With regard to photo/graphics, my position is the same: the introduction of photography into graphics systems was to engender new possibilities and reinvigorate the question of graphic design. And this in turn raises another issue: the printing of the photograph, which is to say, its assimilation to both the print and the illustration, with the mass distribution that implies. -
APRIL/MAY 2011 Contemporary ART Mariine Contemporary
Caliornia APRIL/MAY 2011 Contemporary ART Mariine Contemporary Marine Contemporary Ricky Allman littlewhitehead 1733 — A Wendy Heldmann Bad News Abbot Kinney Blvd TTom Hunterer Venice, CA JoJoww Debut U.S. solo show 90291 Dennis Koch Littlewhitehead May 7 — T: +1 310 399 0294 Peter Lograsso June 18, 2011 Christopher Michlig Robert Minervini Christopher Pate Stephanie Pryor Debra Scacco marinecontemporary.com Axadra Wsfd, “Shp Trptyh”, 48 x 62", mxd mda papr, 2010 Axadra Wsfd occASSionAl beAST thrugh Apr 30, 2011 2903 Santa Monica Blvd. Santa Monica, CA 90404 310-828-1912 www.gallerykmLA.com Gallery Hours: TTue –Sat, 11am ––5pm or by appointment 30 12 25 16 29 S T Cover Image 28 N E 28 T 28 31 N 21 O 30 C 28 35 27 39 38 29 30 36 PUBLISHER Richard Kalisher EDITOR Donovan Stanley DESIGN Eric Kalisher CONTRIBUTORS 31 Roberta Carasso Jessie Kim Caliornia Contemporary ART www.caliorniacontemporaryart.net (323) 380-8916 | [email protected] 88 Apr/May 2011 EXHIBIIONS MICHAEL SALVATORE TIERNEY April 29th - May 2nd located at Chicago’s Merchandise Mart Visit us at Booth 11-B 5797 Washington Boulevard | Culver City, California 90232 | 323.272.3642 | [email protected] | blytheprojects.net EXHIBITIONS Herbert Bayer: Bauhaus by Hugo Anderson Bauhaus and our very sense o what is modern in twentieth century art and design are practically synonymous. WWe are surrounded in our everyday lives by the designs and theories put into practice by the Bauhaus. While the school o the Bauhaus existed only rom 1919 to 1933, its principals and inuence resonate today because o the achieve- ments o the artists and architects associated with it: Walter Gropius, Paul Klee, Vassily Kandinsky, Joseph Alpers, Lyonel Feininger, Laszlo Moholy- Nagy, Warner Drewes and Herbert Bayer. -
Getty Research Institute | June 11 – October 13, 2019
Getty Research Institute | June 11 – October 13, 2019 OBJECT LIST Founding the Bauhaus Programm des Staatlichen Bauhauses in Weimar (Program of the State Bauhaus in Weimar) 1919 Walter Gropius (German, 1883–1969), author Lyonel Feininger (American, 1871–1956), illustrator Letterpress and woodcut on paper 850513 Idee und Aufbau des Staatlichen Bauhauses Weimar (Idea and structure of the State Bauhaus Weimar) Munich: Bauhausverlag, 1923 Walter Gropius (German, 1883–1969), author Letterpress on paper 850513 Bauhaus Seal 1919 Peter Röhl (German, 1890–1975) Relief print From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, January 1921) 850513 Bauhaus Seal Oskar Schlemmer (German, 1888–1943) Lithograph From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, July 1922) 850513 Diagram of the Bauhaus Curriculum Walter Gropius (German, 1883–1969) Lithograph From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, July 1922) 850513 1 The Getty Research Institute 1200 Getty Center Drive, Suite 1100, Los Angeles, CA 90049 www.getty.edu German Expressionism and the Bauhaus Brochure for Arbeitsrat für Kunst Berlin (Workers’ Council for Art Berlin) 1919 Max Pechstein (German, 1881–1955) Woodcut 840131 Sketch of Majolica Cathedral 1920 Hans Poelzig (German, 1869–1936) Colored pencil and crayon on tracing paper 870640 Frühlicht Fall 1921 Bruno Taut (German, 1880–1938), editor Letterpress 84-S222.no1 Hochhaus (Skyscraper) Ludwig Mies van der Rohe (German, 1886–1969) Offset lithograph From Frühlicht, no. 4 (Summer 1922): pp. 122–23 84-S222.no4 Ausstellungsbau in Glas mit Tageslichtkino (Exhibition building in glass with daylight cinema) Bruno Taut (German, 1880–1938) Offset lithographs From Frühlicht, no. 4 (Summer 1922): pp. -
The Urban and Cultural Climate of Rotterdam Changed Radically Between 1970 and 2000. Opinions Differ About What the Most Importa
The urban and cultural climate of Rotterdam changed radically between 1970 and 2000. Opinions differ about what the most important changes were, and when they occurred. Imagine a Metropolis shows that it was first and foremost a new perspective on Rotterdam that stimulated the development of the city during this period. If the Rotterdam of 1970 was still a city with an identity crisis that wanted to be small rather than large and cosy rather than commercial, by 2000 Rotterdam had the image of the most metropolitan of all Dutch cities. Artists and other cultural practitioners – a group these days termed the ‘creative class’ – were the first to advance this metropolitan vision, thereby paving the way for the New Rotterdam that would begin to take concrete shape at the end of the 1980s. Imagine a Metropolis goes on to show that this New Rotterdam is returning to its nineteenth-century identity and the developments of the inter-war years and the period of post-war reconstruction. For Nina and Maria IMAGINE A METROPOLIS ROTTERDAM’S CREATIVE CLASS, 1970-2000 PATRICIA VAN ULZEN 010 Publishers, Rotterdam 2007 This publication was produced in association with Stichting Kunstpublicaties Rotterdam. On February 2, 2007, it was defended as a Ph.D. thesis at the Erasmus University, Rotterdam. The thesis supervisor was Prof. Dr. Marlite Halbertsma. The research and this book were both made possible by the generous support of the Faculty of History and Arts at the Erasmus University Rotterdam, G.Ph. Verhagen-Stichting, Stichting Kunstpublicaties Rotterdam, J.E. Jurriaanse Stichting, Prins Bernhard Cultuurfonds Zuid-Holland and the Netherlands Architecture Fund. -
The Legacy of Jan Tschichold
Damani Douglas Tanya Goetz Digital Media Foundations 1112 December 7, 2020 The Legacy of Jan Tschichold As the vast empire of woodcut printing crumbles beneath the mass integration of lithography and photography, 20th century avant-garde typography continued to revolutionize because of typographers like Jan Tschichold. Jan Tschichold was a well-known calligrapher, graphic designer, typographer, author, and teacher who had a significant impact on transforming the world of modernist typography and graphic design. His influence reverberates through generations as his very name has become a staple in the history of graphic design and modernist typography. Jan Tschichold was born on April 2, 1902 in Ledzig, Germany, where he would spend his childhood training in the visual arts. Jan Tschichold grew up with his mother and father, Maria & Franz Tschichold. His father was a sign writer, and as such, he provided Tschichold with an early introduction into the world of lettering and calligraphy. Despite Tschichold’s attraction to the graphic arts, particularly calligraphy and typography, he became an illustration teacher because his parents worried he would Figure 1. Early Work from Jan Tschichold, 1923 become a fruitless artist. Even so, at seventeen Tschichold began to douse himself in typographic studies and practices. He furthered developed his calligraphic ability while adding engraving, wood cut printing, lithography, bookbinding and many other creative skills to his arsenal. Though self-taught, Tschichold’s extensive studies and passion for the graphic arts separated him from multitudes of typographers and graphic designers at the time. Tschichold’s artistic curiosity led him to Weimar, Germany to see the first public exhibition of an influential German art school known as The Bauhaus in 1923. -
Download Document
Josef Albers Max Bill Piero Dorazio Manuel Espinosa Friedrich Vordemberge-Gildewart Manuel Espinosa in Europe Josef Albers Max Bill Piero Dorazio Manuel Espinosa Friedrich Vordemberge-Gildewart Frieze Masters 2019 - Stand E7 Manuel Espinosa and his European Grand Tour Dr. Flavia Frigeri Once upon a time, it was fashionable among young members of the British and northern European upper classes to embark on what came to be known as the Grand Tour. A rite of passage of sorts, the Grand Tour was predicated on the exploration of classical antiquity and Renaissance masterpieces encountered on a pilgrimage extending from France all the way to Greece. Underpinning this journey of discovery was a sense of cultural elevation, which in turn fostered a revival of classical ideals and gave birth to an international network of artists and thinkers. The Grand Tour reached its apex in the seventeenth and eighteenth centuries, after which interest in the great classical beauties of France, Italy and Greece slowly waned.1 Fast-forward to 1951, the year in which the Argentine artist Manuel Espinosa left his native Buenos Aires to embark on his own Grand Tour of Europe. Unlike his cultural forefathers, Espinosa was not lured by 4 Fig. 1 Founding members of the Concrete-Invention Art Association pictured in 1946. Espinosa is third from the right, back row. Photo: Saderman. the qualities of classical and Renaissance Europe, but what propelled him to cross an ocean and spend an extended period of time away from home was the need to establish a dialogue with his abstract-concrete European peers. -
AVANT-GARDES: Selections from the Merrill C
F O R I M M E D I A T E R E L E A S E AVANT-GARDES: Selections from the Merrill C. Berman Collection February 5 – April 24, 2004 Constructivism, Dada, De Stijl, Futurism, Neue Sachlichkeit, Surrealism J. S. Anderson, Johannes Baader, Willi Baumeister, Christ Beekman, Pasqualinio Cangiullo, Carlo Carrà, Jean Crotti, Felix DeBoeck, Walter Dexel, Cesar Domela, Vassily Ermilov, Alexandra Exter, George Grosz, Raoul Hausmann, Hannah Höch, Karl Holtz, Vilmos Huszar, Paul Joostens, Gustav Klutsis, El Lissitzky, Lou Loeber, Jeanne Mammen, Robert Michel, Alastair Morton, Oskar Nerlinger, Josef Peeters, Liubov Popova, Thijs Rinsema, Aleksandr Rodchenko, Karl Peter Röhl, Rudolf Schlichter, Paul Schuitema, Victor Servranckx, Nikolai Sidelnikov, Maria Siniakova, Jindrich Styrsky, Karel Teige, Solomon Telingater, Jan Tschichold, L. H. Tutundjian, Konstantin Vialov, Ilia Zdanevitch, Piet Zwart Ubu Gallery is pleased to present AVANT-GARDES: Selections from the Merrill C. Berman Collection, featuring more than 65 works by over 40 artists associated with most of the major European avant-garde movements which flourished between the two World Wars. Selected from his superb collection by Merrill Berman himself, this exhibition presents a richly diverse group of artists and styles linked by their “forward- looking” posture and visual “punch.” The works to be exhibited at Ubu – as with Berman’s entire collection – represent a “personalized” cut through 20th Century visual culture “authored” by a collector with an extremely keen and knowledgeable eye. Rather than acquiring only important names (although the collection has more than its share of these, as well), Berman has considered the “aesthetic” aspect of each work and its historical context in deciding whether to add it to his collection. -
NEWSLETTER 40 Antikvariat Morris · Badhusgatan 16 · 151 73 Södertälje · Sweden [email protected] |
NEWSLETTER 40 antikvariat morris · badhusgatan 16 · 151 73 södertälje · sweden [email protected] | http://www.antikvariatmorris.se/ hutt, allen: Fournier the Complete Typographer Frederick Muller Ltd, London. 1972. Front portrait, xiv, 89 pages. Small 4to (25,5 x 19,5 cm). Cloth binding with dust jacket. Facsimiles and type specimens. The Ars Typographica Library series, edited by James Moran. SEK250 / €26 / £22 / $28 [johnston, edward] johnston, priscilla: Edward Johnston Faber & Faber, London. 1959. 316 pages. + 12 pages of half-tone illustrations. Cloth binding. Dust jacket worn and with two shorter, tape repaired tears (acid free tape). 7 line illustrations in the text and 12 plates. Jacket design by Irene Wellington. Mono- graph by Edward Johnston’s youngest daughter. Loosely inserted a letter from the publisher to Ulf Hård af Segerstad, Svenska Slöjdföreningen. “Dear Sir: I have heard from Allan Thomson that you would be interested in reviewing edward johnston in the ‘Svenska Dagbladet’. / I accordingly sending you the book, under separate cover. Would you be kind enough to let me have a copy of your journal when your review appears? / With many thanks, / Yours truly” Signed by bert- hold wolpe. SEK450 / €47 / £39 / $51 [stephenson blake & co. ltd. caslon letter foundry] Playbill Stephenson Blake & Co. Ltd. Caslon Foundry, Sheffield. No date [1938]. 4to (28 x 23 cm). Not paginated (16 pages). Staples rusty. Introduction followed by 2 pages showing Playbill 24–72 point Titling, 13 pages with samples; “Playbill at work”. Printed in co- lour. The first showing of Playbill. “SB modified Victorian revival designed by Robert Harling” Millington p.