MASTER OF AMERICAN DESIGN
ALEXEY
BRODOVITCH
CONTENTS 1
Background
2
Brodovitch & Surrealism
3
Brodovitch & Color
4
Brodovitch & Photography
5
Brodovitch & Teaching
6
References
BACKGROUND
1 Brodovitch was a Russian born photographer,
designer and instructor who is most famous for his art direction of fashion magazine Harper’s Bazaar from 1934 to 1958.
Brodovitch was born in 1898. By the age of 20,
he emigrated to France spending the decade of the 1920s immersed in the avant- garde atmosphere of the Paris. Finally, in 1930 he sailed to the United States, where he would spend the rest of his working life.
While some immigrants never make a successful
adjustment to their new environment, Brodovitch thrived on what was foreign to him.
Brodovitch did much more than design Harper's
Bazaar magazine. While working for this magazine, he still worked as a free lance designer and illustrator. He was also art director and art editor of the pioneering graphic- arts magazine Portfolio. He devoted what spare time he had left to painting and photography.
SURREALISM
2 “The Bal Banal” poster is the very first success
Brodovicth had ever earned in his design career.
“The girl of tomorrow” cover, using the
Trylon and the Perisphere, symbols of the 1939 World's Fair, shows most clearly the influence of Surrealism on his work of the late thirties and early forties. The use of the mask recalls his first success, the poster for the Bal Banal. Besides borrowing graphic ideas from others, Brodovitch also recycled his own work.
He understood the connection between fashion
and the subconscious mind. Fashion, like Surrealism, has an irrational, irresistible appeal.
Bal Banal poster. 1924
Harper’s Bazaar cover February 1939.
COLOR
3 Colors are relatively new in magazines of the
1930s, when full-color illustration required laborious preparation and long lead times.
However, by using process or second color inventively, Brodovitch was able to give the Bazaar an added sense of currency and luxury.
Junior Bazaar cover January 1947. Art Directors: Alexey Brodovitch and Lillian Bassman. Photographer: Ernst Beadle.
PHOTOGRAPHY
4 From the very first issues he designed for
Harper’s Bazaar, Brodovitch was sensitive to photographs as no other art director had been.
He was especially attentive to the shapes
within the frame and used them to cue the placement of text and headlines.
He arranged photographs on the pages like playing card but in his layouts, overlaps or positions rarely seem unintentional.
Influenced by Surrealism, Brodovitch empha-
sized mirroring and spatial illusion in many of his page designs.
Brodovitch often used photographs as if they
were frames in a slow motion film, repeating a pose or dress several times across the page to create a narrative temporal feeling.
He increasingly encouraged blurry and out of focus photographs.
Harper’s Bazaar, October 1934 Photographer: Man Ray
Harper’s Bazaar, October 1934 Photographer: Man Ray
Harper’s Bazaar March 1936 Photographer: Man ray
Harper’s Bazaar, March 1938 Photographer: George Hoyningen- Huene
Harper’s Bazaar, September 15, 1939. Photographer: George Hoyningen-Huene
Harper’s Bazaar, April 1945. Photographer: Henri Cartier- Bresson.
Harper’s Bazaar November 1934.
Harper’s Bazaar, October 1944. Photographer: Martin Munkacsi
Harper’s Bazaar April 1950.
Ballet, designed by Brodovitch using photographs he
had taken in the late thirties while standing backstage at performences of the Ballets Russes.
TEACHING
5 From 1930, when he first set foot in the United States, until 1966, when he returned to France, Brodovitch promoted the tenets of graphic design by teaching.
He had trained and inspired a generation of postwar designers, illustrators and photographers.
Central to his method was the peripatetic
Design Laboratory
REFERENCES
6 Andy Grundberg, Brodovitch: Masters of American Design. 1989. http://www.iconofgraphics.com/alexey-brodovitch/ http://diary.rebeccahawkes.co.uk/spotlight-on-alexey-brodovitch/
“ If you see something you have seen before, don’t click the shutter.” Alexey Brodovitch
THE END