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All Images from Book
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Bart van der Leck, layout for Batavier Line poster, 1915–16. In a series of preliminary layouts, Van der Leck struggled to bring order to the design by dividing the space into rectangles.
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Bart van der Leck, Batavier Line poster, 1916. Flat pure color and bold horizontal and vertical spatial divisions build the design. Because of World War I, this poster could not be used: the shipping lines between the Netherlands and the United Kingdom were severed. When it was eventually employed during the 1920s the text and colors were changed, infuriating Van der Leck. This example is the first printing of the poster and reflects the original design of the artist.
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Vilmos Huszár, title pages for De Stijl, 1918. Huszár presented a positive/negative figure/ground study in spatial relationships. Restrained typography marked Apollinaire's death.
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Théo van Doesburg, advertisements and announcements from De Stijl, 1921. Five messages are unified by a system of open bars and sans-serifs typography.
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Théo van Doesburg and Kurt Schwitters, “Kleine Dada Soirée,” poster, 1922. This poster illustrates the Dada side of Van Doesburg's artistic personality.
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Gerrit Rietveld, model for the Schroeder House, Utrecht, 1924. A new architecture is composed of planes in a square.
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J. J. P. Oud, façade of the Café de Unie, Rotterdam, 1925. Oud successfully resolved problems of structure, signage, and identification. Architectural and graphic forms of contrasting color and scale are ordered into a harmonious balance.
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Vilmos Huszár, “Diego Rivera,” cover for Wendingen, no. 10-3, 1929. The forms on this cover are inspired by Aztec architecture, and the colors are those of the Mexican national flag.
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