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In 1897 the French symbolist poet Stéphane Mallarmé (1842–98) published the poem “Un coup de dés” (A Throw of the Dice), composed of seven hundred words on twenty pages in a typographic range.
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- Futurism was a type of art in the 20th century in Italy mostly.- It started when the Italian poet Filippo Marinetti (1876-1944) published his Manifesto of Futurism in the Paris newspaper Le Figaro on February 1909. -Marinetti made a big impact on futurism.
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1910s
- Cubism began a new artistic tradition of pictorial art. Most of this work was used by famous Pablo Picasso (1881-1973) that applied elements of ancient Iberian & African tribal art to human figures.
- Over the years, Picasso & his close associate Georges Braque (1881-1963) developed cubism as the art movement that replaced the rendering of appearances with the endless possibilities of invented form. -
- the real subject is shapes, colors, textures, and values used in spatial relationships.
- Cubism has a strong relationship with the process of human vision.
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1910s -1920s Breton, a trained psychiatrist, along with French poets Louis Aragon (1897–1982), Paul Éluard (1895–1952), and Philippe Soupault (1897–1990), were influenced by the psychological theories and dream studies of Sigmund Freud (1856–1939) and the political ideas of Karl Marx (1818–1883).
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1910s 1920s The first two decades of the twentieth century were a time of ferment and change that radically altered all aspects of the human condition. In Europe, monarchy was replaced by democracy, socialism, and communism. Technology and scientific advances transformed commerce and industry. Transportation was radically altered by the coming of the motorcar (1885) and the airplane (1903). The motion picture (1896) and wireless radio transmission (1895) foretold a new era of human communicatio
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Analytical cubism is the name given to their work from about 1910 to 1912. Throughout this time period they analyzed the planes of the subject matter, often from several points of view & used of perceptions to construct a painting composed of rhythmic geometric planes.
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In 1912, Picasso & Braque introduced paper collage elements into their work.
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In 1913 cubism evolved into synthetic cubism. Drawing on past observations, the cubists forms that were signs rather then representations of the subject matter. Cubism changed the course of painting & some extent graphic design as well.
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In January 1913, Giovanni Papini (1881-1956) began publication of the journal Lacerba in Florence, and that’s where typographic designs were found.
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- The futurist concept that writing and/or typography could become a concrete and expressive visual form has been a sporadic preoccupation of poets dating back at least to the work of the Greek poet Simias of Rhodes (c. 33 bce).
- Called pattern poetry, the verse that explored this idea often took the shape of objects or religious symbols. In the nineteenth century,
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the German poet Arno Holz (1863–1929) reinforced intended auditory effects by such devices as omitting capitalization and punctuation, varying word spacing to signify pauses, and us- ing multiple punctuation marks for emphasis.
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- The June 1913 issue published Marinetti’s article calling for a typographic revolution against the classical tradition. Harmony was rejected as a design quality because it contradicted “the leaps and bursts of style running through the page”
- Noise and speed, two dominant conditions of twentieth- century life, were expressed in futurist poetry.
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- The Manifesto of Futurist Architecture was written by Antonio Sant’Elia (1888–1916). He called for construction based on technology and science and for design that addressed the unique demands of modern life.
- Sant’Elia was killed on the battlefield, but his ideas and visionary drawing influenced the course of modern design.
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Among the other artists who applied futurist philosophy to graphic and advertising design, Fortunato Depero (1892–1960) produced a dynamic body of work in poster, typographic, and advertising design.
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The De Stijl movement was launched in the Netherlands in the late summer of 1917. Its founder and guiding spirit, Théo van Doesburg (1883–1931), was joined by painters Piet Mondrian (1872–1944), Bart Anthony van der Leck (1876–1958), and Vilmos Huszár (1884–1931), the architect Jacobus Johannes Pieter Oud (1890–1963), and others. Working in an abstract geometric style, De Stijl artists sought universal laws of balance
and harmony for art, which could then be a prototype for a new social order. -
The Bolsheviks began a news agency, the Russian Telegraph Agency (ROSTA) in 1917, immediately following the Russian Revolution. Two years later ROSTA posters began to be produced to support the Red Army in the civil war. Using straightforward pictorial designs, their goal was to portray the Bolshevik version of the new politics through the use of images.
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They turned their energies to a massive propaganda effort in support of the revolutionaries. By 1920 a deep ideological split developed concerning the role of the artist in the new communist state. Some artists, including Malevich and Kandinsky, argued that art must remain an essentially spiritual activity apart from the utilitarian needs of society. They rejected a social or political role, believing the sole aim of art to be realizing perceptions of the world by inventing forms in space and ti
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Issued on separate sheets in a comic book form, they were commonly called ROSTA Windows. They appeared from the fall of 1919 until January 1922 and were hung in shop windows and other places where they would be easily seen.
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Russia was ravaged by civil war, and the Red Army of the Bolsheviks emerged victorious in 1920.
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Advanced ideas about form, color, and space were integrated into the design vocabulary at Weimar Academy
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1920s Russia was torn by the turbulence of World War I and then the Russian Revolution in the second decade of the twentieth century. Czar Nicholas II (1868–1918) was overthrown and executed along with his family.
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Surrealism originated in the late 1910s and early '20s as a literary movement that experimented with a new mode of expression called automatic writing, or automatism
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1920s Surrealist poets were at first reluctant to align themselves with visual artists because they believed that the laborious processes of painting, drawing, and sculpting were at odds with the spontaneity of uninhibited expression.
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• New materials: acrylic resin and plastic
• New techniques: photomontage, photogram, kinetic motion -
In 1922 and 1923, Berlewi worked in Germany and began to evolve his mechano-faktura theory. Believing that modern art was filled with illusionistic pitfalls, he mechanized painting and graphic design into a constructed abstraction that abolished any illusion of three dimensions. This was accomplished by mathematical placement of simple geometric forms on a ground.
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In 1923 Rodchenko began to design a magazine for all fields of the creative arts, entitled Novyi lef. A design style based on strong, static horizontal and vertical forms placed in machine rhythm relationships emerged.
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Officially consecrated in Paris in 1924 with the publication of the Manifesto of Surrealism by the poet and critic André Breton (1896–1966), Surrealism became an international intellectual and political movement.
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Mid-late 1920s
• Moholy-Nagy developed typophoto—advocated emphatic contrasts and bold use of color in typography -
Bauhaus professor Marcel Breuer invented tubular-steel furniture
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• Bayer experimented with flushed left, ragged right typesetting
• used extreme contrast of type size and weight to establish a visual hierarchy of emphasis determined by an objective assessment of the relative importance of the words
• bars, points, squares used to subdivide space and lead the viewer’s eyes across the space
• often used black and one bright colored hue -
Mid-late 1920s
• Eric Gill advanced the concept of unequal line lengths in text type
• Paul Renner designed Futura – included 15 alphabets, four italics, two unusual display fonts. Futura became the most widely used geometric sans-serif family.
• Design dictum “less is more” became a major principle in 20th century design -
In Typographische Mitteilungen Jan Tschichold had an insert titled “Elementare Typographie” which officially introduced, explained, and demonstrated modern typography to printers, typesetters, and designers.
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Mid 1920s - Early 1930s
Bauhaus style furniture, architecture, environmental spaces, and typography were developed. -
Mid-late 1920s
Bauhaus professor Herbert Bayer:
• made typographic design innovations using sans serif fonts exclusively
• designed a universal font that reduced the alphabet to clear, simple, and rationally constructed forms
• omitted use of capital letters because they were incompatible in design -
Bauhaus magazine began publication—which was an important vehicle for spreading advanced ideas about art theory and its application to architecture and design.
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In 1927, the Belgian artist René Magritte (1898–1967) moved from Brussels to Paris and became a leading figure in the visual Surrealist movement. He was very influenced by de Chirico's paintings between 1910 and 1920, Magritte painted erotically explicit objects juxtaposed in dreamlike surroundings.
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In 1927 Depero published his Depero futurista.
It was a compilation of his typographical experiments, advertisements, tapestry designs, and other works. -
El Lissitzky, exhibition designer for Pressa, 1928. Light, sound, and motion become design elements. Belts symbolic of web printing are in continuous movement in this publishing-industry design.
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Gustav Klutsis, Spartakiada postcard, 1928. Using photomontage, Klutsis designed this postcard to promote a large sporting event.
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Tschichold’s Book, Die neue Typographie advocated asymmetrical typography to express the spirit, life, and visual sensibility of the day
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Vladimir Vasilevich Lebedev, book cover, Tsirk (Circus), 1928.
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In 1929, Dalí moved from Spain to Paris and made his first Surrealist paintings, which he expanded on Magritte's dream imagery with his own erotically charged, hallucinatory visions.
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Georgii and Vladimir Augustovich Stenberg, film poster for The Man with the Movie Camera, 1929. Spatial dislocation is achieved by extreme perspective, circular type, and the fragmented figure.
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Bauhaus design expanded into product design and visual communications—modernist approach to visual education was developed.
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The organized Surrealist movement in Europe dissolved with the onset of World War II. Breton, Dalí, Ernst, Masson, and others, including the Chilean artist Matta (1911–2002), who first joined the Surrealists in 1937, left Europe for New York. The organization was found again in the United States at Peggy Guggenheim's (1898–1979) gallery, Art of This Century, and the Julien Levy Gallery.
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About 1937, Ernst, a former Dadaist, began to experiment with two unpredictable processes called decalcomania and grattage. Decalcomania is the technique of pressing a sheet of paper onto a painted surface and peeling it off again. Grattage is the process of scraping pigment across a canvas that is laid on top of a textured surface.
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In 1940, Breton organized the fourth International Surrealist Exhibition in Mexico City, which included the Mexicans Frida Kahlo (1907–1954) and Diego Rivera (1886–1957)
Surrealism's surprising imagery, deep symbolism, refined painting techniques, and disdain for convention influenced later generations of artists, including Joseph Cornell (1903–1972) and Arshile Gorky (1904–1948), the latter whose work formed a continuum between Surrealism and Abstract Expressionism. -
Tschichold led a revival in traditional typography, using classical serif type styles— advocating freedom in style and expression, and endorsed ornamental typography.
