Pictorial Modernism Through the Lens of Simplicity Joseph Rousseau
Cover derived from “German Captured Aircraft Exhibition.” Julius Gipkens. 1917.
Pictorial Modernism Through the Lens of Simplicity Joseph Rousseau
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The Beggarstaffs
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s I thumbed through the various volumes in my search of a better understanding of the movement of poster design in the early 1900s, few entries could I find related. The innovators of the Pictorial Modernism movement, James Pryde and William Nicholson, provide only a short blurb of the art encyclopedia entries. In 1894, these two gentlemen dubbed themselves the ‘Beggarstaffs’ in an effort to preserve their reputation as traditional artists and continue the painting they loved. Perhaps unbeknownst to themselves, they gave birth to a new era and perspective in design. Whether it was an effort to dis-
tinguish themselves, or something they simply stumbled upon, the Beggarstaffs found the effect of cut paper shapes on their pasteboard to be appealing. The results were striking, as the ambiguity of the large plain shapes left for the imagination of the viewer to fill in the rest of the visual information themselves. This technique, later to be known as collage, lead to the emergent ideologies of the Pictorial Modernism movement and provided a stark contrast to the waning wavy lines of Art Nouveau. Despite the profound artistic ideals the Beggarstaffs brought to surface, this technique was wildly unsupported and a financial catastrophe ensued
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The Beggarstaffs (James Pryde & William Nicholson). 1894.
“Kassama�, Corn Flour.
which lead to the Beggarstaffs to disassemble their company and go back to painting. The impact of their work with collage however remained with them as evident in their ensuing work. It was nearly a decade from the brief epoch of the Beggarstaffs when the impact of their work came to surface once again. With the work of Lucian Bernhard, the influential poster designer, the ideals of the Beggarstaffs were refined and singlehandedly defined the Pictorial Modernism movement.
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Lucian Bernhard
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t is difficult to imagine the impact that Bernhard was going to have on the institutions of design. From an early age, however, it was evident Bernhard intended to shake things up. At the tender age of fifteen, Bernhard was exposed to the art of the Munich Flaspalast Exhibition of Interior Decoration in 1898. This avant-garde art struck a tone within Bernhard as he returned home compelled to repaint the interior to his family’s dull, conventional home. Much to his father’s dismay, the house had taken a new bright color from the walls to the very furniture, and he was berated to the point of nearly being labeled a crimi-
nal. Needless to say, a falling out between him and his father occurred and he left home that very day. His early career in design was fostered through the workshop movements of the time and it is to be expected that he learned the necessary skills to succeed in his field during this time. He became a member of the German Werkbund and the artistic advisor of the Verein der Plakatfreunde in 1905, bringing him to the forefront of German poster design (Aynsley). Bernhard substantiated the truths of Beggarstaff design with his utilization of flat shapes of color accompanied by a products name and image. Emphasizing the simple
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Lucian Bernhard. 1920.
“Osram Lightbulbs.”
and disregarding that which was unnecessary, Bernhard sought to remove any extraneous elements. The intention of simple design spread across Germany and influenced other rising designers of the time. Julius Klinger, known for his efforts in the secessionist movement, took to the simplicity of Bernhard after relocating to Berlin. Direct allusions can be made between the work of Hans Rudi Erdt and Bernhard as Erdt’s work was coming to fruition at this time.
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Hohlwein & War Rivaling Bernhard during this period of time was another Beggarstaff influenced designer by the name of Ludwig Hohlwein. In contrast with both the Beggarstaffs and Bernhard, Hohlwein implemented a wide variety of patterns and textures to his defined shapes. During the second world war, Hitler, recognizing proper propaganda, used Hohlwein’s talent to further his message of Aryan supremacy. This, despite tarnishing Hohlwein’s career, illustrated the themes prominent during that time and the ever-changing social tides. The German propaganda posters depicted in both of the world wars utilized pictorial modernism as
a means of conveying their message. Whether the recognizable iconic ideals lead for a more accessible poster, or simply relayed the information in its simplest and most quickly recognized form, it proved a distinctly different approach than that of the Allied powers. The easily identified, ‘I Want You’ American Army poster provides this case in point. The allies opted for a more illustrative style so the undying message of patriotism could not be mistaken. The ‘Und du?’ poster of Hohlwein most certainly evokes a different response in the viewer.
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James Montgomery Flagg. 1917.
“I want you for U.S. Army nearest recruiting station.”
Ludwig Hohlwein. 1932.
“Und du?”
The Ideal Through the trials and tribulations of the Beggarstaffs and the use of the Pictorial Modernism through prosperity and wars, there remains no better defining example of the era than the anecdote of Bernhard’s coming to his design of the Priester matches poster. Entering a poster contest for Priester’s matches, he began by depicting a table with a checkered tablecloth, ashtray with a cigar lit, and a box of matches. Initially believing the image too plain, Bernhard painted into the background women wearing little clothing.
Believing it to be too complex, he then painted out the lovely ladies.
Bernhard painted out
the cigar
ashtray, tablecloth