The Influence of Modern Art the INFLUENCE of MODERN ART
ANM102 | HISTORY OF GRAPHIC AND WEB DESIGN
CHAPTER 13 The Influence of Modern Art THE INFLUENCE OF MODERN ART
• The first two decades of the 20th century were time of social, cultural and political upheaval. World War I was fought between 1914 and 1918 bringing about tremendous change in the traditions and institutions of Western civilization.
• The visual arts and design exploded with creative revolutions that questioned long-held values, as well as greatly altering the role of art and design in society. Ideas about color, form, space, subject all focused around social protest and deeply personal emotional states.
• Cubism, Dada and surrealism, De Stijl, constructivism and expressionism all directly influenced the language and look of visual communication in graphic design. William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 2 CUBISM
Analytical cubism • developed by Pablo Picasso and Georges Braque, it involves an analysis of the planes of its subject matter, often from several points of view, and using these perceptions to construct a painting composed of rhythmic geometric planes • Analytical cubism’s compelling fascination grows from the unresolved tension of the sensual and intellectual appeal of the pictorial structure in conflict with the challenge of interpreting the subject matter. Synthetic cubism • Drawing on past observations, the cubists invented forms that were signs, rather than representations, of their subject matter • The essence of an object and its basic characteristics, rather than its outward appearance, were depicted William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 3 CUBISM
CUBISM • Geometric planes in African sculpture, masks and fabrics greatly influenced the Cubist artists.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 4 CUBISM
Pablo Picasso • most notable of the Cubist artists • figures abstracted into geometric planes and classical norms for the human face are distorted • perspective become ambiguous with several viewpoints seen simultaneously
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 5 CUBISM
Georges Braque • a close associate of Picasso, Braque contributed much to the Cubist movment. • introduced paper collage into the artists’ work, creating texture and adding text that enhanced the visual form and reinforced the meaning or message of the artwork.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 6 CUBISM
Fernand Léger • took the geometric design aesthetic of the cubists a step farther by abstracting forms even more and assembling compositions of brightly colored geometric planes
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 7 FUTURISM
Futurism • a revolutionary movement in which all the arts were to test their ideas and forms against the new realities of scientific and industrial society • Its manifesto voiced enthusiasm for war, the machine age, speed, and modern life. Manifesto • a public declaration of principles, policies, or intentions, such as that made by the Futurists.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 8 FUTURISM
Filippo Mannetti • Futurism launched by the Italian poet, Filippo Mannetti • produced explosive typography that defied correct syntax and grammar • harmony was rejected as a design quality and the two dominant conditions of 20th century life, noise and speed were expressed in futurist poetry
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 9 FUTURISM
Carlo Carrà • “Parole in libertà” (free word composition), 1914 • futurist poets believed that the use of different sizes, weights, and styles of type allowed them to weld painting and poetry, because the intrinsic beauty of letterforms, manipulated creatively, transformed the printed page into a work of visual art
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 10 FUTURISM
Fernand Léger • La Fin du Monde…, 1919 • whirlwind tour of the re-creation of the earth after the fall of man is illustrated by a pinwheel of lettering spelling “accelerated slow motion cinema.”
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 11 FUTURISM
Fortunato Depero • New Futurist Theater Company poster, 1924 • futurist artist who applied the movement’s philosophy to graphic design • designed New Futurist Theater Company poster, 1924 • flat planes of vibrant color, diagonal composition, and angular repetitive forms produce kinetic energy. • Depero’s style was a major influence to the constructivist William Pickering, title page for the movement Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 12 DADA
Dada • Reacting against the carnage of World War I, the Dada movement claimed to be anti-art and had a strong negative and destructive element • Dada writers and artists were concerned with shock, protest, and nonsense • Chance placement and absurd titles characterized their graphic work.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 13 DADA
DADA • claimed to be anti- art and had a strong negative and destructive element • artists were concerned with shock, protest, and oddly, basic nonsense • rejected all tradition seeking complete freedom of expression.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 14 DADA
Hugo Ball • poet who wrote Karawane, a Dada poem in 1917 • sound and sight poems such as this expressed the Dadaist desire to replace man’s logical nonsense with an illogical nonsense— creating sound poetry, nonsense poetry, and chance poetry.
‣ ‘What is Dada’? … Nothing? Everything?’— Hugo Ball
‣ http://www.augustana.ualberta.ca/ William Pickering, title page for the files/group/612/14%20- Book of Common Prayer, 1844. DADA222.htm
CHAPTER 13: THE INFLUENCE OF MODERN ART 15 DADA
John Heartfield • German designer adopted this English name as a protest against German militarism • founding member of the German Dadaist movement • used harsh photomontages to create posters with the Nazi party as his target • he fled to London after discovering he was on a secret list of Nazi enemies
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 16 DADA
John Heartfield • covers for AIZ, a German news magazine, from 1921-1933
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 17 DADA
Man Ray • American artist who is most noted for his avant-garde photography • Rayographs camera-less prints, on which he frequently made his exposures with moving beams of light and combined experimental techniques such as solarization with the basic technique of placing objects on the photographic paper.
‣ "When I saw I was under attack from all sides, I knew I was on the right track." — Man Ray
‣ http://photossu.blogspot.com/ William Pickering, title page for the -Man Ray Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 18 DADA
Man Ray • The Gift, 1919 • contradiction presented by the "smoothing" function of an iron and the denial of that function represented by the nails. Cognitive dissonance was always a favorite Dadaist and Surrealist theme
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 19 DADA
Man Ray • was an admirer of the Ingres' paintings and made a series of photographs, inspired by his languorous nudes • As a visual joke/pun he painted on the f-holes of a stringed instrument and named this, "Le Violon d'Ingres"
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 20 SURREALISM
Surrealism • Arising in Paris in 1924, searching for the “more real than real world behind the real”— the world of intuition, dreams, and the unconscious realm explored by Sigmund Freud • Poet André Breton, founder of surrealism, imbued the word with all the magic of dreams, the spirit of rebellion, and the mysteries of the subconscious in his 1924 Manifesto du Surrealisme: “Surrealism, noun, masc., pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. • Thought dictated in the absence of all control exerted by reason, all aesthetic or moral preoccupations.” William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 21 SURREALISM
Salvadore Dali • Spanish painter who is most associated with the surrealist movement. • Influenced by the Renaissance masters, he was a skilled draftsman and painter. • This painting, The Persistence of Memory is Dali’s interpretation of Einstein’s theory that time is relative. William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 22 SURREALISM
Salvadore Dali • the style uses visual images of the subconscious or dreams without any attempt at literal comprehension. • Soft Construction With Boiled Beans by Salvador Dali depicts the devastation of war and how it can be both self-fulfilling as well as destructive.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 23 SURREALISM
Giorgio de Chirico • Italian artist who painted stark and empty landscapes of the Italian Renaissance palaces • depicted vacant buildings, dramatic, harsh shadows, deep perspective and a feeling of melancholy or sadness
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 24 SURREALISM
Max Ernst • German artist who had a major impact on the use of photography and illustration in his art. • Created strange juxtapositions of images using collage and rubbings (frottage,) to develop his compositions.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 25 SURREALISM
René Magritte • Belgian surrealist who’s relatively common images are often juxtaposed in an unusual context. • In his painting of a pipe, Magritte has written “This is not a pipe” along the bottom,” which in fact is true. It is a painting of a pipe
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 26 SURREALISM
Joan Miro • depicted organic shapes and line on a flat plane of bright colors. This surrealistic style called “automatic drawing” allowed for drawing randomly across the paper, thus producing “How did I think up my drawings and imagery from the my ideas for painting? Well I'd come home to my Paris studio, I'd go to subconscious. bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling...”
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 27 MERZ
Merz • A nonpolitical offshoot of Dada and a one- man art movement created by Kurt Schwitters • He coined from the word Kommerz (commerce), which appeared in one of his collages. • Beginning in 1919, 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.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 28 MERZ
Kurt Schwitters • created a one-man art movement called Merz, that broke away from Dadism in a nonpolitical way • Beginning in 1919, 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.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 29 MERZ
Kurt Schwitters
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 30 MERZ
Kurt Schwitters • Between 1923 and 1932, Schwitters ran a successful graphic design studio with a major client, Pelikan, a manufacturer of office equipment and supplies • pages from Merz 11, 1924 • ads for Pelikan tusche and inks • demonstrate Schwitters’s growing interest in constructivism during the
1920s William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 31 EXPRESSIONISM
Expressionism • In early twentieth-century art, the tendency to depict not objective reality but subjective emotions and personal responses to subjects and events • Emerging as an organized movement in Germany before World War I, color, drawing, and proportion were often exaggerated or distorted, and symbolic content became very important. • Line and color were often pronounced; color and value contrasts were intensified. Tactile properties were achieved through thick paint, loose brushwork, and bold contour drawing.
• Woodcuts, lithographs, and posters wereWilliam Pickering, title page for the important media for many expressionists.Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 32 EXPRESSIONISM
Wassily Kandinsky • Early 20th century art movement organized in Germany before WWI. Images depicted vivid colors, aggressive brushstrokes, and abstract forms. • Russian born, Wassily Kandinsky is noted as one of the first creators of pure abstract expressionism.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 33 KEY TERMS Futurism Expressionism • Wassily Kandinsky Surrealism • Salvadore Dali Dadaism • Max Ernst • Kurt Schwitters • Georges de Chirico • John Heartfield
Cubism • Pablo Picasso • Georges Braque • Fernand Léger
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 34 KEY TERMS
Analytical cubism Futurism developed by Pablo Picasso and Georges Braque, it a revolutionary movement in which all the arts were to involves an analysis of the planes of its subject matter, test their ideas and forms against the new realities of often from several points of view, and using these scientific and industrial society. Its manifesto voiced perceptions to construct a painting composed of enthusiasm for war, the machine age, speed, and rhythmic geometric planes. Analytical cubism’s modern life. compelling fascination grows from the unresolved tension of the sensual and intellectual appeal of the Manifesto pictorial structure in conflict with the challenge of a public declaration of principles, policies, or interpreting the subject matter. intentions, such as that made by the Futurists.
Collage Parole in libertá (words in freedom) a composition of elements glued onto a surface. a new and painterly typographic design in which three or four ink colors and twenty typefaces (italics for Synthetic cubism quick impressions, boldface for violent noises and Drawing on past observations, the cubists invented sounds) could redouble words’ expressive power on the forms that were signs, rather than representations, of page. Free, dynamic, and piercing words could be their subject matter. The essence of an object and its given the velocity of stars, clouds, airplanes, trains, basic characteristics, rather than its outward waves, explosives, molecules, and atoms. appearance, were depicted
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 35 KEY TERMS Pattern poetry Artist’s book The futurist concept that writing and/or typography published by an artist as a creative expression could become a concrete and expressive visual. In the independent of the publishing establishment. nineteenth century, the German poet Arno Holz reinforced intended auditory effects through such Dada devices as omitting capitalization and punctuation, Reacting against the carnage of World War I, the Dada varying word spacing to signify pauses, and using movement claimed to be anti-art and had a strong multiple punctuation marks for emphasis. negative and destructive element. Dada writers and artists were concerned with shock, protest, and Calligrammes nonsense. Chance placement and absurd titles Guillame Apollinaire’s name for poems in which the characterized their graphic work. letterforms are arranged to form a visual design, figure, or pictograph. In 1918, a book of his Ready-made calligrammes was published in which he explored the Sculpture such as a bicycle wheel mounted on a potential fusion of poetry and painting, introducing the wooden stool, and the exhibition of found objects, concept of simultaneity to the time- and sequence- such as a urinal, as art, by Marcel Duchamp. bound typography of the printed page. Photomontage Simultaneity the technique of manipulating found photographic concurrent existence or occurrence, such as the images to create jarring juxtapositions and chance presentation of different views in the same work of associations. art.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 36 KEY TERMS
Merz Frottage A nonpolitical offshoot of Dada and a one-man art a method invented by Max Ernst that used rubbings to movement created by Kurt Schwitters. He coined from compose directly on paper. As he looked at his the word Kommerz (commerce), which appeared in rubbings, his imagination invented images in them, one of his collages. Beginning in 1919, his Merz much as one sees images in cloud formations pictures were collage compositions using printed ephemera, rubbish, and found materials to compose Decalcomania color against color, form against form, and texture Ernst’s process of transferring images from printed against texture. matter to a drawing or painting. This enabled him to incorporate a variety of images into his work in Surrealism unexpected ways. This technique has been used arising in Paris in 1924, searching for the “more real extensively in illustration, painting, and printmaking. than real world behind the real”—the world of intuition, dreams, and the unconscious realm explored Emblematics by Sigmund Freud. The poet André Breton, founder of a group of surrealist painters who worked with a purely surrealism, imbued the word with all the magic of visual vocabulary. Visual automatism was used to dreams, the spirit of rebellion, and the mysteries of create spontaneous expressions of inner life. the subconscious in his 1924 “Manifesto du Surrealisme”: “Surrealism, noun, masc., pure psychic Visual automatism automatism by which it is intended to express, either Intuitive, stream-of-consciousness drawing and verbally or in writing, the true function of thought. calligraphy. Thought dictated in the absence of all control exerted William Pickering, title page for the by reason, all aesthetic or moral preoccupations.” Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 37 KEY TERMS
Expressionism Der Blaue Reiter (The Blue Rider) In early twentieth-century art, the tendency to depict one of two early German expressionist groups not objective reality but subjective emotions and beginning in Munich in 1911, Der Blaue Reiter personal responses to subjects and events. Emerging as redefined art as an object without subject matter, but an organized movement in Germany before World War with perceptual properties that were able to convey I, color, drawing, and proportion were often feelings. The group was led by Russian émigré Wassily exaggerated or distorted, and symbolic content Kandinsky. became very important. Line and color were often pronounced; color and value contrasts were Les Fauves (Wild Beasts) intensified. Tactile properties were achieved through In France, the Fauves, led by Henri Matisse, shocked thick paint, loose brushwork, and bold contour proper French society with their jarring color contrasts drawing. Woodcuts, lithographs, and posters were and spirited drawing in the first decade of the century. important media for many expressionists. Except for Georges Rouault, the Fauves were more involved with color and structural relationships than Die Brücke (The Bridge) expressions of spiritual crisis. One of two early German expressionist groups, it originated in Dresden in 1905. Die Brücke artists Vortographs declared their independence in transforming their Early nonobjective photographic images of subject matter until it conveyed the own unexpressed kaleidoscopic patterns invented by Alvin Langdon in feelings. Their figurative paintings and woodblock 1917. He employed a microscope, explored multiple prints were forged with thick, raw strokes, which often exposure, and used prisms to split images into became bold statements about alienation, anxiety, fragments. William Pickering, title page for the and despair. Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 38 KEY TERMS
Solarization invented by Man Ray, this photographic process involves the reversal of the tonal sequence in the denser areas of a photographic negative or print, which adds strong black contours to the edges of major shapes. Solarization is achieved by giving a latent or developing
Rayographs Man Ray’s camera-less prints, on which he frequently made his exposures with moving beams of light and combined experimental techniques such as solarization with the basic technique of placing objects on the photographic paper. He also used distortion, printing through textures, and multiple exposure as he searched for dreamlike images and new interpretations of time and space, applying surrealism to graphic design and photography assignments.
William Pickering, title page for the Book of Common Prayer, 1844.
CHAPTER 13: THE INFLUENCE OF MODERN ART 39