ART & DESIGN MOVEMENTS by Barbara Merino
Exploring the history of design ‌.
“THE DESIGN�, as we know it, took off at the end of the XIX century, when the industrialization made possible the production in series of domestic articles. Often there was a predominant style that defines an era. Most styles would be developed in one country and gradually implemented in others.
Arts & crafts 1850 - 1915
"DESIGNER IS IN ESSENCE, AN ARTIST” George Nelson Industrial designer
ARTS & CRAFTS
“have nothing in your house, that you do not know to be useful, or believe to be beautiful�
This movement began in the late nineteenth century in the United Kingdom when writers such as John Ruskin and William Morris rejected machine-made objects and mass production, as they were considered vulgar and often of low quality. Traditional crafts, the use of local materials and the integrity of the way of doing things were promoted.While some fine artists were involved in
William Morris
the Arts and Crafts Movement, most examples of the style can be found in areas such as architecture and decorative arts. The latter includes things such as ceramics, stained glass, textile arts, wallpaper, William Morris
An abundant use of wood Art-glass lighting Functional Furniture Exposed joinery Colors from nature Ancient Celtic art inspiration
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furniture, and household goods.
William Morris Christopher Dresser
Stickley Brothers Sofa. About 1900
Gustav Stickley William de Morgan Charles Robin Ashbee Charles Voysey Letter toast Rack by Christopher Dresser
Thonet
Islamic art inspiration Handmade work Chair n. 14 by Thonet, 1890
Ceramics by William de Morgan, 1890
ARTS & CRAFTS
Arts & Crafts interior style
ARTS & CRAFTS
Aestheticism 1860 - 1900
“ART FOR ART’S SAKE” Aestheticism motto
AESTHETICISM
This movement emerged in Great Britain in the 1870s as a reaction to the cold and poor quality of the contemporary Victorian design. Based on the idea that beauty was the most important element in life, writers, artists and designers sought to create works that were admired simply for their beauty rather than any narrative or moral function. Aestheticism embraced not only the "high" arts, but also ceramics, metalwork, fashion, furniture-making, and interior design.
Aestheticism is a search after the signs of the beautiful. It is the science of the beautiful through which men seek the correlation of the arts. It is the search after the secret of life.
The initial impact of aestheticism was felt especially in Great
Oscar Wilde
Britain, but the desire to raise a daily objects into artwork
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movements and style, such as Arts & Crafts and Art Nouveau.
Premium on quality craftsmanship Exploring color, shapes, and composition in the pursuit of beauty
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through its quality craftsmanship influenced in other
Oscar Wilde Dante Gabriel Rossetti William Morris James Whistler Peacock plate, Arts & Crafts. About 1889
Peacocks and sunflowers as a favorite motifs Characterized by subdued colors, geometric designs, and simplified linear forms
Mixed styles from all over the world. Persian, Japanese or Egyptian motifs Morris & Company carpet, 1884
Art nouveau 1880 - 1910 “Our roots are at the bottom of the forests: on the banks of the springs and among the mosses”. Emile Gallé
ART NOUVEAU Art Nouveau was an artistic movement which peaked in
This style would receive different names "Jugendstil" in
popularity between 1890 and 1905 which was practiced in the
Germany, and "Secession" in Austria. Although
fields of art, architecture and applied art. It is a French term
interrupted by the IWW, Art Nouveau caused a profound
meaning "new art" and is characterized by organic and plant
impact, and the rectilinear work of the German designers
motifs as well as other highly stylized forms. The organic forms
exerted a great influence on the later modern style.
often took the form of sudden violent curves which were often
“To each time its art. To art its freedom� Secession motto
referenced by the term whiplash. Its short success was a reaction against the late 19th century academic art and was replaced by the
Hector Guimard
development of 20th century modernist styles. The main focuses of art nouveau were Brussels and Paris. In
Louis Majorelle
symmetrical, based on straight lines, and with a graphic sense of
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light and shadow.
Female figures Asymmetry influenced by Japanese Art and Rococo The whiplash curve as a characteristic linear motif The glassmakers added metal oxides to their designs, and the cameo effect become popular They endeavored to recreate with precision the striking shapes and the ethereal beauty of plants and insects, especially in furniture, glass and jewelry Influenced by the vast amounts of Japanese art and Arts & Crafts ideals
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Germany and Austria, Art Nouveau was more geometric and
Charles Rennie Mackintosh Alphonse Mucha Clement Massier Antonio Gaudi Joseph Maria Olbrich Louis Comfort Tiffany
The Zodiac Maiden by Alphonse Mucha
Rene Lalique Herman Obrist Nancy School WMF
Rene Lalique Bracelets
ART NOUVEAU
Elizabetes 10 B building, Riga, 1905
ART NOUVEAU
Vase by Clement Massier, (France), about 1904.
Lamp by Louis Comfort Tiffany, about 1896 (USA). WMF Mantel Clock 1910 (Germany)
Mushroom Glass Lamp after Émile Gallé "Les Coprins” about 1925, (Austria).
Paris Underground by Hector Guimard, about 1905.
A covered jar with support by Joseph Maria Olbrich, 1901 (Germany).
Batlló House by Antonio Gaud;i, Barcelona (Spain), about 1905.
A Charles Rennie Mackintosh Hill House High Back Chair (Glasgow), about 1902.
Chair by Louis Majorelle (France), about 1900.
Hoffmann Side Chair Designed by Josef Hoffmann(Germany), about 1925.
Modernism 1910 - 1940
“less is more" LUDWIG MIES VAN DER ROHE
MODERNISM After the First World War, the most avant-garde European design tried to break with the styles of the previous era. The new focus was on simple forms, smooth surfaces, and clear interiors, and it dispensed almost entirely with ornamentation, based on the idea that the shape of an object should depend on its function.. It was a
De Stijl: The principle they shared involved reducing an object to its essence, using only white, black and primary colors, and a simple geometry of lines and planes without intersections.
reaction against the decorative excesses of Art Nouveau, partly because of the feeling that the era of machines represented that
Bauhaus: Its philosophy was that the shape of an object is
deserved a much more modern style of design.
determined by its function. Its designers created striking objects,
Therefore, objects that could be standardized in order to meet the
from elegant table services to lamps, combining a functional
needs of ordinary people were preferred, and ornamentation was
aesthetic and an excellent handmade appearance.
considered an obstacle to industrial production. Modern designers explored the use of new materials such as plywood and steel pipe. From the exhibition of the work of
De Stijl
designers and architects of this movement in the Museum of the
Bauhaus
denominate the movement "INTERNATIONAL STYLE", due to
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its worldwide diffusion.
The use of new materials: laminated wood and steel pipe Abstract graphics Geometric forms Solid forms and primary colors Minimalist stye Pure glass without ornaments Looking for functionality
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MOMA of New York in 1932, both critics and designers began to
Marcel Breuer
Red and blue chair by Gerrit Thomas Rietveld 1917. De Stijl Movement. (The Netherlands)
Le Corbusier Ludwig Mies Van der Rohe Frank Lloyd Wright Charlotte Perriand Kazimir Severinovich Malievich Eileen Gray Peter Behrens Walter Gropius Alvar Aalto
Bauhaus School Building by Walter Gropius. 1925. Weimar.
MODERNISM
Villa Savoye interior Poissy (France) by Le Corbusier, 1929
MODERNISM
Dynamic suprematis by Kazimir Severinovich Malevich 1915 Russia
Penguin cover by Edward Young 1935 UK
Kaixer Luxus table lamp by Christian Dell, Bauhaus 1931 Germany
AEG fan by Peter Behrens 1907 Germany
Barcelona’s chair by Ludwig Mies Van der Rohe- 1928 (Germany) Bauhaus
Adjustable E-1027 table by Eileen Gray 1927 Scotland
Wassily chair by Marcel Breuer, 1925 (Germany)
Peter Behrens for AEG, Electric Tea Kettle, Berlin, 1909
Savoy vase by Alvar Aalto 1937 Finland
Armchair n. 37 by Alvar Aalto 1930 Finland
Indochine chair by Charlotte Perriand, 1943 Paris (France)
Robie 1 Chair by Frank Lloyd Wright 1914 (USA)
art deco 1919 - 1940
“Pleasure was the color of the time" Harold Clurman (Theater director)
ART DECO Between the decades of 1920 and 1930. designers left behind the
Aerodynamic Style: Style characterized by soft rounded profiles
sinuous curves of Art Nouveau and developed a new angular,
and decorative bands that suggest movement. The design followed
geometric and modern decorative style. Many of its pioneers were
the steps of the industry and the fast means of transport of the
French or worked in Paris, where the Exposition Internationale
moment: trains, airplanes, transatlantic and automobiles, such as
des Arts Decoratifs et Industriels Modernes was held in 1925.
the famous Ford Lincoln-Zephyr.
This show promoted a new style and encouraged designers from
Early 1930'S Kem Weber "Zephyr" Desk Clock. Aerodynamic style. USA
all over the world to interpret it in their own way. From here arose the Art Deco that would last until the outbreak of World War II. Its designers borrowed motifs from diverse cultures: such as Egyptian, Aztec or classical antiquity, but they used it in a modern way and, sometimes combined with geometrical forms typical of cubist or abstract painting. This style marked all aspects of the life of its time, injecting a mixture of glamor and modernity into the design of any space or object.
Geometric and abstract rays arose as a representation of the sunshine
Jacques Emile Ruhlman
Influences of other cultures such as African Art or images from Egyptian tombs
Clarice Cliff
Female figures often dancing or practicing sports The designers of fabrics and posters moved the rhythm and tempo of jazz to geometric patterns Female figures often dancing or practicing sports Cubist influences and daring colors Luxury materials
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Ford Lincoln Zephyr 1936 Aerodynamic style. USA
Georg Jensen ErtĂŠ Cassandre Jean Puiforcat Bloch armchair by Emile Ruhlman, 1923, France
ART DECO
Chrysler Building New York (USA), by William Van Allen ,1930
ART DECO
François-Emile Decorchemont vase, 1930
Montecarlo poster by Roger Broders 1930
Chemin De Fer Du Nord by Cassandre, 1928
Conical Sugar sifter by Clarice Cliff, 1935
Club Chair & Ottoman Circa 1930’s Donald Deskey Style
Enamel rainbow scarab buckle, 1925
Constellation clock by Jean Puiforcat, 1932
Two candlesticks with grape motif By Georg Jensen, 1935
Etat Cabinet by Jacques Emile Ruhlman, 1925
French Art Deco Lamp Nude Holding a Globe by Max Le Verrier, 1930
Constructivism 1910 - 1930 “TRUTH TO MATERIALS" Constructivism motto
movement to flourish in Russia in the 20th century. It evolved just as the Bolsheviks came to power in the October Revolution of 1917, and initially it acted as a lightning rod for the hopes and ideas of many of the most advanced Russian artists who supported the revolution's goals. It borrowed ideas from Cubism, Suprematism and Futurism, but at its heart was an entirely new approach to making objects, one which sought to abolish the traditional artistic concern with composition, and replace it with ‘construction.'
Focus on construction: analysis of the materials and forms of art, Desire to express the experience of modern life. New form of art more appropriate to the democratic and modernizing goals of the Russian Revolution. Furniture are simple, function oriented and designed in standard curvilinear pattern
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Constructivism was the last and most influential modern art
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CONSTRUCTIVISM
El Lissitzky Aleksandr Rodchenko The Stenberg Brothers Vladimir Tatlin Kasimir Malevich
Books (Please)! In All Branches of Knowledge, by Alexander Rodchenko, 1924.
Model for the 3rd International Tower, (1919-1920) by Vladimir Tatlin Beat the Whites with the Red Wedge, El Lissitzky, 1919.
Beat the Whites with the Red Wedge, El Lissitzky, 1919.
Constructivist Chair in Birch Plywood, 1970
Mid-century modernism 1940 - 1959
“MORE FOR LESS" RICHARD BUCKMINSTER FULLER
MID-CENTURY MODERNISM In the mid-twentieth century, and especially after the Second World War, the design underwent a subtle change. The architects and designers moved away from the simple, angular style of the 1920s and 1930s and turned to a softer version of the modern style. The furniture, the ceramics, the glass, the articles of house, and the fabrics were more decorative than those of the previous period. This change was due above all to the urgent need for reconstruction after the war. The design would be the fundamental tool when it comes to improving living standards, creating cozy homes and raising spirits. Technological advances prompted the creation of new materials.. At this time, the Scandinavian designers had great influence throughout the Western world and, many companies were created
Tupperware advert 1960.
Clean lines with more organic aesthetics
Robin Day
Exuberant colors. Muted colors were considered outdated
Charles and Ray Eames
Designers were inspired by the landscape that surrounded them New abstract and vivid patterns animated fabrics and household items Scientific influences such as atomic structures Plastic became increasingly popular as a material of kitchen utensils, lighting devices, appliances as well as furniture Glass objects acquired more daring colors and shapes (i.e Murano pieces)
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in order to offer mass products more affordable.
Eero Saarinen Arne Jacobsen Peter Rams Lucienne Day
"Everything is sculpture. I believe that any material, any unobstructed idea that arises in space is a sculpture." Isamu Noguchi
Isamu Noguchi Robert Welch
Sculpture floor lamp by Isamu Noguchi, 1950.
MID-CENTURY MODERNISM
Ray & Charles Eames House, 1949. L.A (USA)
MID-CENTURY MODERNISM
The polypropylene chair by Robin Day 1960.
Eames chair DSW by Ray & Charles Eames, 1948.
Tulip chair by Eero Saarinen, 1956.
Swam chair by Arne Jacobsen, 1958.
RT 20 Radio by Dieter Rams 1961. Oriana toast rack by Robert Welch 1959.
Eames® lounge chair & ottoman by Ray & Charles Eames. 1956.
Anzolo Fuga Exceptional Hand Blown Glass Vase with Glass Fragments, 1958-1968
Flotilla, furnishing fabric, Lucienne Day, 1952, England. Palisade, furnishing fabric, Lucienne Day, 1953, England.
Noguchi® Table by Isamu Noguchi, 1948.
Jacobsen Table Lamp by IArbe Jacobsen, 1961.
Scandinavian 1935 - Present “Maximun style with minimum display" STYLE MOTTO
century was the work of Swedish, Norwegian, Finnish and Danish companies and designers, who with their natural woods, their soft colors and their curved silhouettes, softened the harsh lines of the modern style of the 1930s. Although it arose already before the Second World War, the Scandinavian style was released in the mid-1950s, with the Lunning Award for Nordic designers and the Scandinavian Way of Living, an exhibition that toured North America between 1954 and 1957.
Arne Jacobsen
Minimalism, following principles of Modernism and Bauhaus It makes the most out of limited resources
It makes the most out of limited resources
Strong relationship between nature and design elements Natural and delicate colors
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One of the most important influences in the design of the mid-20th
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SCANDINAVIAN
Borge Morgensen Verner Panton Poul Kjærholm Hans J. Vegner Finn Juhl
“The important thing is to express the personality of the material - not time” Poul Kjærholm
Poul Kjærholm furniture. Modern Museum N.Y and Albert Museum London.
Domus chair byIlmari Tapiovaara Artek, 1946.
Finn Juhl interior, Copenhagen (Denmark)
late Modernism Pop Art Space Age
1960 - 1979
“The industry should be culture" ETTORE SOTTSASS (Architect and Designer)
LATE MODERNISM During the 1960s and 1970s, the design became more
POP ART (1958-1972):Pop Art was a visual art movement
SPACE AGE (1960-1979): The exploration of space and the
sculptural, colorful and bold, and incorporated a touch of
that emerged during the mid 1950s. A sign of the times, the
popularity of movies and science fiction novels drove a trend
humor. After the war, the 1960s, it was a period of economic
style focused on mass production, celebrity and the expanding
towards futuristic design. Many designers were no longer
stability and relative prosperity. There was a great social
industries of advertising, TV, radio and print media – shaping a
inspired by art, but by science. Technology offered seemingly
change, which led to a Boom in the market of cheap
new cultural identity in the field of art and design.
endless possibilities and modeled the modern world, from
domestic furniture and utensils, which aroused a great
Characterized by brash, bold, colorful and humorous artwork,
turntables to bus shelters, and high-speed trains.
variety of designs and new products. It was the first time
Pop Art incorporated many design elements, including
that youth, a fashion fan, had purchasing power, and the
different styles of painting, sculpture, collage and street art.
design was democratized and began to follow, to a large extent, the dictates of the culture of the street. In London, from the swing of the 1960s to the punk of the 1970s, album people and reflected their rebellion against traditional values. The fun and ironic, flashy and often plastic products or other synthetic materials, meant a break with the past. Both the designers and the manufacturers adopted an
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eclectic theme rather than adhering to a unique style.
Plastic injection molded product. Flower power prints Playful forms Vivid and contrasted colors splashed from the furniture to the posters, passing through the fabrics Innovative furniture, exaggerating size and proportions Everyday products for the office and home were designed with the same rigor as other less ordinary products New uses of materials such as reinforced cement in architecture
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covers, movie posters and advertising addressed young
Herman Miller Habitat
“everyone needs a fantasy" Andy Warhol
Vitra Chile Castiglioni Flos Kartell Kenneth Grange Knoll Andy Warhol Roy Lichtenstein Richard Hamilton Heart Cone chair, La Marie Chair and Panton Chair. Vitra & Kartell products.
LATE MODERNISM
JASPER MORRISON’S INSTALLATION AT THE VITRAHAUS. Weil am Rhein (Germany).
LATE MODERNISM
HM82b armchair for Hitch Mylius by Kenneth Grange
Sofá Marshmallow, 1956 for VITRA By George Nelson
1960'S Sputnik Lamp Space Age
Prismatic table for Vitra, 1957 by Isamu Noguchi
Side Chair, 1972 by Gehry Wiggle
Snoopy lamp for Flos, 1967 by Achille Castiglioni TWA Terminal N.Y (USA) Designed by Eero Saarinen - 1955 - 1958
Executive chair for Herman Miller, 1958 by Ray & Charles Eames.
Platner Dining Table, 1962 by Warren Platner for Knoll®
Componibili Smile for Kartell by Anna Castelli Ferrieri
Joe sofa, 1971 by Jonathan de Pas & Paolo Lomazzi
Minimalism 1967 - 1978
"simplicity is the ultimate sophistication" LEONARDO DA VINCI
MINIMALISM Minimalism emerged in New York in the 1960s, becoming an important American artistic movement. A direct reaction against abstract expressionism, the minimalist artists put aside the ornate symbolism to concentrate on the materials. These young artists often worked with industrial materials, such as concrete and steel, drawing attention to their physical forms and properties instead of focusing on emotion. They geometric and elegant work was not based on elaborate metaphors for interpretation, thus rejecting the traditional values of the fine arts. Instead, minimalist artists often forced viewers to contemplate how physical objects influenced their reactions by reflecting on principles such as weight, light and height. In addition to Japanese culture, the minimalist architecture also has its origins in the De Stijl and Bauhaus movements of the twenties. The use of De Stijl's abstraction and simplicity, as well
Paul Sofa by Vincent Van Duysen, 1990
as Bauhaus's interest in the use of industrial materials and the reduction of forms, are essential characteristics of minimalist
Basic shapes and straight, clean lines All comes down to its simplest, most necessary elements Environmental friendly objects Spaces are serene and uncluttered, but not cold and sterile Black and white and natural tones predominate Prints are avoided and textures are played The most used materials are leathers and metals
A.G. Fronzoni
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architecture.
Peter Wigglesworth Ronald Knol Vincent van Duysen Luke Wong
The A.G. Fronzoni ’64 Series,1964 by Angiolo Giuseppe Fronzoni
Postmodernism & contemporary 1979 - Present
“LESS IS BORING" ROBERT VENTURI Architect
POSTMODERNISM & CONTEMPORARY Postmodernism was a movement in the field of architecture and design that emerged in the 1970s and reached its leniency in 1980. It rejected the simplicity and purity of the previous modern style and gave itself to variety, complexity and contradiction. It was a response to the economic growth and optimism of the 1980s. The anti-modern attitude soon influenced in the design of daily objects. Italian groups, such as Memphis or Studio Alchimia, reinterpreted traditional designs with vibrant tones. The theatricality of the pieces that were designed attracted the attention of the design world and began to occupy the pages of magazines such as Domus, of international distribution..
Covers of the most influential groups of the time (70s), and Domus as a most influential architecture and design journal (since 1928).
Although postmodernism, with its thought that "everything goes" was a reaction against the idea that the form should be subordinated to the function, its influence also became evident in the work of industrial engineers and designers, such as James Dyson and Jonathan Ive, chief designer of Apple. The economic crisis of 1987 marked the end of the culture of excess that had prevailed in the 1980s. After almost 15 years of postmodernism, with its eclectic and sumptuous style, it turned to a simpler and cleaner design. And as the designers recovered the modern spirit, colors, patterns and striking ornaments were gradually replaced by glass, and transparent
Alessi Corkscrew - Anna G by Alessandro Mendini, 1980
Unusual forms
Ettore Sottsass
Inspired by the past and with an irony touch
Marc Newson
They deliberately avoided the symmetry in the use of form, structure, materials and color Contrasting and intense colors to enhance the visual impact of the pieces or highlight their mechanism Many designers create products with recycled or energy efficient elements Experimental objects that defied gravity, and others that tried to imitate less accessible textures and materials
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An American Studio Glass Vase, James Nowak (b. 1956)
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plastics, wood and wicker.
Ron Arad Ikea Orrefors Muji Philippe Starck Thomas Heatherwick
POSTMODERNISM & CONTEMPORARY
Restaurant Le Kong, Paris by Philippe Starck, 2003
POSTMODERNISM & CONTEMPORARY
"It is possible that a table must have four legs in order to be functional, but no one can tell me that all four legs have to be the same�. ETTORE SOTTSASS
Louis Ghost Chair by Philippe Starck, 2002
Spun Seat by Thomas Heatherwick for Magis, 2002.
3 Skin Soft Chair by Ron Arad for Moroso
Memphis Group - Ettore Sottsass Coffee Table, 1980
Ingeborg Lundin Vase for Orrefors, 1963
Wall lamp BY Ingo Maurer Lucellino NT, 1990
A Lockheed Lounge by Marc Newson 1963
Muji high back reclined sofa
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"THE INDUSTRY, ROLLING LIKE A RIVER WHO RUNS TOWARDS HER DESTINATION, BRINGS US THE NEW TOOLS”. LE CORBUSIER