the rise of the modernism francisco casaroti
Introduction
Art Nouveau grow out of the dark restless energy of the industrial city of Paris in the age of Freud and Darwin. It was fixed with nature, sensuality and sex. In the space of a decade or so went from nowhere to everywhere. It’s seen like anti-dote to the ugliness of the modern age. The age of Art Nouveau was an unprecedented epoch in the decorative, fine and graphic arts, a fusion of disparate philosophical and artistic ideas that found its apogee in Continental Europe and America. What began as revolution in the name of truth beauty and nature end in the derringer decadence and decay but its influences been reflected in many other art movements such as Futurism, Art Deco and Psychedelia.
Influences
Art Nouveau was strongly influenced by the Arts and Crafts , Names like Arthur Heygate Mackmurdo, Edward Burne-Jones and Willian Morris became known around the Europe due to a Journal called The Studio, witch was avidly read across the continent. It was also been inspired by the 1850s Japanese art that became very popular between artists and art schools. Names like Katsushika Hokus, Kitagawa Utamaro and Ando Hiroshige contributed indirectly with strong appreciation of sex and nature to the new art movement that changed the way art was made.
Wilian Morris
Katsushika Hokus
Beginnings The movement wasn’t always called Art Nouveau its had many other names such: Stile Liberty, Whiplash the “macaroni” style, Morris Style, Glasgow Style, Metro Style and many more. When the first metro station (Metropolitan Line) in Paris appeared it was the bold declaration of new art for the new century, its appeared just in time for the a massive celebration “the world fair of 1900” called Exposition Universelle wived for 50 million people. What makes Art Nouveau the star of this huge fair was the French “stand” named Petit Palais from French of small palace designed by Charles Girault’s and extremely well decorated by artists of the time. The main entrance gate, designed by Girault himself, was immediately praised for its elegance and the virtuosity of its craftsmanship. He also created the banisters for the staircases in rotundas and the garlands and swags of wrought iron decorating the peristyle and balconies.
Metropolitain Metro Station Paris
Petit Palais
The gates of Petit Palais
Technologies The end of the 19th century where marked with the 2nd Industrial revolution what is consider begun in 1860 culminated in mass production and the production line. Many new technologies emerged at this time such as: - Widespread application of the internal combustion engine including mass production of the automobile. - Wilhelm Maybach designed an engine built at Daimler Motoren Gesellschaf following the specifications of Emil Jellinek who required the engine to be named Daimler-Mercedes after his daughter, Mercédès Jellinek. In 1902, the Mercedes 35 hp automobiles with that engine were put into production by DMG - The Brownie camera is invented; this was the beginning of the Eastman Kodak company. The Brownie popularized low-cost photography and introduced the concept of the snapshot.
However one of the most important invention of that time been presented at the “Exposition Universelle” as Art Nouveau, internal combustion engine by Rudolf Diesel demonstrated the diesel engine in the World’s Fair in Paris using peanut oil fuel. The Diesel engine takes the Grand Prix.
Graphic Arts The graphic artists where influenced by Japanese prints, and they were copied by poster artists. In the 1880s you could see promotional poster everywhere around Paris selling musicals, ballet, opera, champagne and every think that could be sold. Jules Cheret He is the “Master” of poster design he learned lithograph in a three years course and after designed for Eugene Rimmel perfumes Vand La Diaphane his works became known.
Henri de Toulouse-Lautrec Began his works illustrating for a magazine La Revue Blanche but he became famous for his posters designed for Moulin Rouge, The Cafe Concer, Jane Avril and for Le divan Japonais.
Theophile-Aleandre Steinlen A few year after designed the color lithograph Two cats, he started design for commercial purposes like a poster for Compagnie Francaise des Chocolats et des Thes and Le Chat Noir Cabaret.
Alphonse Mucha “The Gismonda poster was the first Art Nouveau poster, it was indirectly the first step to make art available to the general public, you no longer have to be rich” it’s how Jhon Mucha, Alphonse grand son described the importance of Gismonda to the art-world Alphonse Mucha who studies fine art in Paris. What he really want to be but not commercial artist but was Christmas day 1894 and Sarah Bernnhardt needed a poster to advertise her new play and he was approached to create the Gismonda Poster, he put his ambitions on hold and got to work. After she saw the poster she immediately signed him up for a six years contract. But Mucha not just design commercial poster for Sarah Bernnardt, Champagnes, Monaco-Monte-Carlo, Cigarrets,etc..He produced a book the “Documents Decoratifs” stylistic guide for Art Nouveau that became a bible of the movement.
References - Art Nouveau Posters, Illustration & Fine Art From the Glamorous Fin de Siecle Ormiston, R., & Bobinson, M., Flame Three Publishing - Art Nouveau International Howard, J., Manchester University Press - The Allure of Art Nouveau BBC BBC.Sex.and.Sensibility.The.Allure.of.Art.Nouveau.1of3.Paris.PDTV.XviD.AC3. MVGroup.org.avi (701.98 Mb) Subtitles: [eng] - Combinations Ornamentales M.M.P.Verneuil-G.Auriol et A.Mucha Paris Librarie Centrale des Beaux Arts - Documents Decoratifs Alphonse Mucha’s Documents Décoratifs Style Book http://blog.paperblanks.com/2012/12/alphonse-muchas-documents-decoratifs-plates-1-12/ - 1900 Decade http://en.wikipedia.org/wiki/1900s_(decade)
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Introduction The ter m Constructivism was first coined by artists in Russia in early 1921 and achieved wide inter national currency in the 1920s. Russian Constructivism refers specifically to a group of artists who sought to move beyond the autonomous art object, extending the for mal language of abstract art into practical design work. Painting, sculpture, photography, design and architecture, with associated developments in literature, theatre and film. The ter m Constructivism has frequently been used since the 1920s, in a looser fashion, to evoke a continuing tradition of geometric abstract art that is ‘constructed’ from autonomous visual elements such as lines and planes, and characterized by such qualities as precision, impersonality, a clear for mal order, simplicity Adolf Straknov and economy of organization and the use of Vladimir Lenin contemporary materials such as plastic and metal.
Beginnings The Russian people were unreeling to leaving the way they were oppressed and abused by the desires of the gover nment which was unable and feckless to change the old ways of unfair heavy rules as result Russian revolution couriered in October 1917 called “The red October” . Workers ordinary people took the power control and Vladimir Lenin became the chair man of the Council of People’s Commissars, he want to create a impure for all, were health produced by the people was equally distributed among the people. L yubov Popova
Technologies Industrialization and technological advent of the 20th Century radical change the society the traditional easel paints was abandoned. Russian avant-garde was deter minate to reinvent art, to construct art from level 0. Russia became a breathing ground for the revolution in art its self, today we call the revolution Moder nism and the Constructivism is the Russian version of that. In Constructivism no longer the art was for art seek, art meant to serve the social pur pose. It was created to serve all people Kazimir Malevich and it is practical on its nature. Suprematism Practicality merged with beauty was the mean line behind the Constructivism concept ideas. Constructivism heavily impacted the traditional art but not just, its helped to create the new every day life.
Influences/Legacy The Constructivism have no predecessors influence, due to a Russian revolution the idea was to create a new concept of art with no references to other art movements. Even done some articles mention some influences of Art Nouveau and Arts Craft perhaps is not really what happened at the time. I could mention the Futurism, Or phism, Vorticism and Suprematism which visually has more connections than the first two movements mentioned. One of the best examples of the Constructivism legacy is the Bauhaus Ger man school of design where classes was lectured by Edward Wadsworth Vorticism people like Wasily Kandinsky who been directly involved in the Russian art revolution like.Art movements like De Stijl also been influenced buy the Russian Cosntructivism.
Graphic Arts The list of graphic Constructivist artists is quiet extensive with names like Alexander Rodchenko, Wassily Kandinsky, El Lissitzky, Anton Lavinsky, Varvara Stepanova, Natalia Goncharova, Gustav Klutsis, Lyubov Popova,Adolp Straknov, etc. Alexander Rodchenko is one of the most prominent names of the Russian Constructivism he created the El Lissitzk y graphic style of Constructivism. As a painter, sculptor, graphic designer, photographer and photo-montage specialist he been exploring art in many for ms and created his very unique and largely copied style. After spend quiet good time of his life painting and developing his style based on diagonal lines and circles, he came up with tree paintings that chocked the art world “pure red” “pure blue” and “pure yellow”. With this tree frames he broken with the old art style based on medium colors been reduced to something really minimal that later on heavily influenced The Bauhaus school. After that he abandon paintings and spend most of his time with photograph, advertising, billboards, posters, graphic design and films, mass produced art for the age of masses. “To be able to photograph, means to create a picture that reproduce the maximum visual effect”
Logo Design by Alexander Rodchenko
References Russian Contr uctivism Christina Lodder Tate Moder n http://www.tate.org.uk/context-comment/video/constructivism-and-art-everyday-life-part-1 http://www.tate.org.uk/context-comment/video/constructivism-and-art-everyday-life-part-2 http://www.tate.org.uk/context-comment/video/constructivism-and-art-everyday-life-part-3 http://www.tate.org.uk/context-comment/video/constructivism-and-art-everyday-life-part-4 http://www.tate.org.uk/context-comment/video/constructivism-and-art-everyday-life-part-5 http://www.tate.org.uk/context-comment/video/constructivism-and-art-everyday-life-part-6 http://www.tate.org.uk/whats-on/tate-moder n/exhibition/rodchenko-popova/rodchenko-and-popova-defining-constructivism Moma http://www.moma.org/collection/details. php?theme_id=10955&displayall=1#skipTo Content
Magazine Cover Designed by Alexander Rodchenko
Design is Histor y http://www.designishistory.com/1920/constructivism/
Introduction Much of the 20th century’s Design was first fashioned not in America ,where spread wildely, but in the revolutionary school of architecture and design founded in a small provincial town in Germany at the moment of political unrest and economical chaos. The Bauhaus born under catastrophe of the end of the second world war. It was a idea of Walter Gropius a German architect who while serving as an officer in the great war, dreamed about a school of art and design that would help to change the world.
Beginnings The Weimar Bauhaus After the war Gropius began to make his utopian dream reality, He was asked to found an art school and expressed his revolutionary ideas in a manifesto published early in 1919, the school would be called the Bauhaus”building house”. The school was supported by public funds. The Bauhaus was founded in the old city of Weimar “the cultural heart of the nation” where the new German constitution was also devised. “ The contribution of the Bauhaus is in fact that we developed what I like to call a visual science” Walter Gropius
Lionel Feininger xilofgrafia 31x19 cm. (1919)
In 1923 Bauhaus school had the first exhibition that had dual character. First it very effectively showed in Weimar the results of the school’s first year and secondly attracted much national and international attention. At the same time the exhibition reveled the transition from expressionism to the constructivist Bauhaus. The most impact feature of the exhibition was a house Karl Peter Röhl that was constructed from pre-fabricated parts and furnished entirely by the Bauhaus workshops, ecologicly Logo Bauhaus Weimar sound, cheap to build and easy to run. But due to growing Nazi ideas in Weimar, Bauhaus needed (1919) to be closed.
The Dessau Bauhaus
Bauhaus logo Image Estracted from BBC Bauhaus Documentary
Dessau was one of the richest German city’s of the time where the Bauhaus restarted their actives. Gropius designed the new school and thanks to advance construction techniques it, took no more than a year to build. In glass, steel and concret it was the cathedral of functionalism. Its a perfect example of constructivism concepts. “The modern life demand modern methods and modern materials” Walter Gropius
Influences “ I realized that closer links have to be forged between the machine and artistic individual. So I established workshops which trained people in two ways as artist and as craftsmen” It’s often wrongly thought that everything was based on hand craft. In fact, it was a place of preparation, Oscar Schlemmer, later you can’t understand a machine until you’ve underBauhaus seal, 1922 stood the tools of your craft” “ We have to put the whole think together, we have to destroy the separations between paintings, sculpture, architecture and designers its all one” Walter Gropius The concept of the Bauhaus was absolutely new based on the fusion between crafts and art whitout distinction or mention of the different strands.
Technologies and improvements The Bauhaus invented the modern student, Johannes Itten painter and teacher at Bauhaus created the foundation way to teach, they move away from individual craft pieces towards products made as prototypes with later industrial manufacture and mass market in mind. Every day objects like tea pots were designed in terms of their function and needs for a mass production. Some products where already manufactured in the Bauhaus workshops like Chess sets, cradle and woodentoys. The Bauhaus has great influences to our day. In furniture metal replaced wood,screws glue and tail joints where superseded by weldings. There was a teacher Wassily Kandinsky who developed a visual language which consisted of triangle, circles, squares, expressive textures and dynamic moving
lines, his compositions made no reference to nature they are shaped by the way he felt. He created what we know as abstract paintings.
Graphic Arts Bauhaus had a huge impact on visual arts, bright, bold, simple and devoid every kind of decoration. Laszlo Moholy-Nagy and Herbert Bayer had perhaps the greatest influence on modern design. The Bauhaus designers were the first to use sans-serif typography, and synthesized De Stijl and Constructivist ideas. Moholy-Nagy was one of the first to experiment Herbert Bayer with photography, using lighting, double exposure Typeface and photo montage, surprisingly he didn’t used it (1926) as art but as a visual communication . Herbert Bayer was a professor of typography. He was the first to use boldface words and organization to show a hierarchy of information on a page, and created the first all-lowercase typography.
Herbert Bayer Bauhaus Magazine (1923)
Vaslis Kandinsky Bauhaus Magazine (1923)
Legacy After the dissolution of the school the concepts and ideas of the Bauhaus been spread to many country’s of the Western Europe, the United States, Canada and Israel where is cataloged 4,000 Bauhaus buildings by the UN Many of the teachers moved to Britain, Gropius and Breuer went to teach at the Harvard Graduate School of design, Herbert Bayer moved to Aspen Colorado where he helped to found the Ulm School of Design.
References The Face of 20th Century Frank Whitford Luiz Becker
Wikipedia
https://en.wikipedia.org/wiki/Bauhaus ADTRAK NEWS. http://www.adtrak.co.uk/blog/the-bauhaus-influence/ BAUHAUS: Principles of Design graphicdesigndetails.wordpress.com/2012/03/05/bauhaus-principles-of-design/ Fonts In Use http://fontsinuse.com/uses/5/typefaces-at-the-bauhaus Workshops for Modernity Bauhaust http://books.google.co.uk/books?id=VEmZRkK2aDoC&printsec=frontcover&dq=bauhaus&hl=en&sa=X&ei=_my8Uaf0Be_I0AWKkYC4Cw&ved=0CDYQ6wEwAQ bauhaus archiv magdalena droste http://books.google.co.uk/books?id=ZXB8rX5AsgUC&printsec=frontcover&dq=bauhaus&hl=en&sa=X&ei=_my8Uaf0Be_I0AWKkYC4Cw&ved=0CDoQ6wEwAg#v=onepage&q=bauhaus&f=false Pull Cotes Walter Gropius radio interview 1968 School curriculum structure Walter Gropius 1922
Introduction Futurism was an art movement launched by the Italian poet Filippo Tommaso Marinetti in 1909. On 20 February he published his Manifesto of Futurism on the front page of the Paris newspaper Le Figaro. That moment saw the birth of the Futurists, a small group of radical Italian artists working just before the beginning of the First World War. Futurism was not only an art movement but also a social movement that developed in Italy in the early 20th Century. Futurists were well versed and practiced in nearly every field of art including painting, ceramics, sculpture, graphic design, interior design, theater, film, literature, music and architecture. It was a movement that particularly despised not just certain aspects of classical antiquity, but everything that was not totally new.
Futurism Manuscripsts Felippo Tommaso Marinetti
Be ginnings In Italy the anarchists brought terror and riots to the streets, and with them posters and leaflets. Futurism developed out of the contemporary and historical situation. At the turn of the century Italy was one of the weakest of the Great Powers. Italy had only been unified as modern nation-state by Garibaldi in 1863 and was under developed economically at this time in comparison with France, Germany and Great Britain. However rapid industrialization was occurring with consequent social unrest in the form of strikes and riots. This sudden impact of Anarchy-symbol technology on the Italian mind set was the primary designed in 1868 focus for futurist art. Among modernist movements, the Futurists rejected anything old and looked towards a new Italy. This was partly because the weight of past culture in Italy
was felt as particularly oppressive. In his Manifesto, asserted ‘we will free Italy from her innumerable museums which cover her like countless cemeteries.’ “..Because we want to free this land from it’s smelly gangrene of professors, archaeologists, ciceroni and antiquarians. For too long has Italy been a dealer in second hand clothes. We mean to free her from the numberless museums that cover her like so many graveyards.” Technologies Innovations like electricity, x-rays, radio waves, automobiles and airplanes were novel and extremely exciting. Italy lagged Britain, France, Germany, and the United States in the pace of its industrial development. Le forze della curva Tullio Crali - 1930
Influences/Le gacy The fragmented forms of cubism and the bright, broken colors of Noe-Impressionism were their major influences. Usually the Futurists took their subjects from modern city life, machines, and power. The legacy of the Futurism is huge and extend to our days due to movements like Orphism, Vorticism, Dada, Expressionism, Constructivism, Purism, Suprematism, Art Deco, Surrealism and the Ultraist movement
Futurism Manuscripsts Felippo Tommaso Marinetti
Irredentismo Felippo Tommaso Marinetti
THAIS-1916 Anton Giulio Bragaglia CINEMA FUTURISTA
Graphic Arts Marinetti’s typographical innovations, within the parameters of graphic design, introduced a powerful technique which used expressive typography with poetic impressions to illustrate his works. He broken with any previous aesthetic rules of design and typography and his style still resonating today. Names like Giacomo Balla, Umberto Boccioni, Anton Giulio Bragaglia Vladimir Carlo Carrà, Ambrogio Casati, Primo Conti, Tullio Crali, Luigi De Giudici, Fortunato Depero, Gerardo Dottori, Fillìa, Filippo Tommaso Marinetti, Sante Monachesi, Enrico Prampolini, Luigi Russolo, Gino Severini, Mario Sironi, Ardengo Soffici,
Ardengo Lazanski 1915
E. Prampolini, Noi, 1917
Fortunato Depero
Campari Botle Design Fortunato Depero
Giacomo Balla numbers in love
Tulio Crali, Prima che si apra il paracadute, 1931
References Futurism and Politics Between Anarchist Rebellion and Fascist Reaction, 1909-1944 Gunter Berghaus Reinvention of forms http://guity-novin.blogspot.co.uk/2011/08/chapter-44-italian-futurist-visual. html http://www.designishistory.com/1850/futurism/ Tate Moedern Futurism http://www.tate.org.uk/whats-on/tate-modern/exhibition/futurism Words in Freedom: Futurism at 100 http://www.moma.org/interactives/exhibitions/2009/futurism/