Main Design Movements:1900-1945
· Bauhaus
The Bauhaus combined elements of both fine arts and design education. The curriculum commenced with a preliminary course that immersed the students, who came from a diverse range of social and educational backgrounds, in the study of materials, color theory, and formal relationships in preparation for more specialized studies. Metalworking was another popular workshop at the Bauhaus and, along with the cabinetmaking studio, was the most successful in developing design prototypes for mass production. The typography workshop, while not initially a priority of the Bauhaus, became increasingly important under figures like Moholy-Nagy and the graphic designer Herbert Bayer (2001.392).
· De Stijl
Also known as neoplasticism, was a Dutch artistic movement founded in 1917 in Amsterdam. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. De Stijl was influenced by Cubist painting as well as by the mysticism and the ideas about "ideal" geometric forms in the neoplatonic philosophy of mathematician M. H. J. Schoenmaekers. The De Stijl movement was also influenced by Neopositivism. The works of De Stijl would influence the Bauhaus style and the international style of architecture as well as clothing and interior design.
Blaue Reiter
Der Blaue Reiter was formed in 1911 in Munich as a loose association of painters led by Vasily Kandinsky and Franz Marc. They shared an interest in abstracted forms and prismatic colors, which, they felt, had spiritual values that could counteract the corruption and materialism of their age. The flattened perspective and reductive forms of woodcut helped put the artists, especially Kandinsky, on the path toward abstraction in their painting. The name Blaue Reiter (“blue rider”) refers to a key motif in Kandinsky’s work: the horse and rider, which was for him a symbol for moving beyond realistic representation. The horse was also a prominent subject in Marc’s work, which centered on animals as symbols of rebirth.
The Bauhaus combined elements of both fine arts and design education. The curriculum commenced with a preliminary course that immersed the students, who came from a diverse range of social and educational backgrounds, in the study of materials, color theory, and formal relationships in preparation for more specialized studies. Metalworking was another popular workshop at the Bauhaus and, along with the cabinetmaking studio, was the most successful in developing design prototypes for mass production. The typography workshop, while not initially a priority of the Bauhaus, became increasingly important under figures like Moholy-Nagy and the graphic designer Herbert Bayer (2001.392).
· De Stijl
Also known as neoplasticism, was a Dutch artistic movement founded in 1917 in Amsterdam. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. De Stijl was influenced by Cubist painting as well as by the mysticism and the ideas about "ideal" geometric forms in the neoplatonic philosophy of mathematician M. H. J. Schoenmaekers. The De Stijl movement was also influenced by Neopositivism. The works of De Stijl would influence the Bauhaus style and the international style of architecture as well as clothing and interior design.
Blaue Reiter
Der Blaue Reiter was formed in 1911 in Munich as a loose association of painters led by Vasily Kandinsky and Franz Marc. They shared an interest in abstracted forms and prismatic colors, which, they felt, had spiritual values that could counteract the corruption and materialism of their age. The flattened perspective and reductive forms of woodcut helped put the artists, especially Kandinsky, on the path toward abstraction in their painting. The name Blaue Reiter (“blue rider”) refers to a key motif in Kandinsky’s work: the horse and rider, which was for him a symbol for moving beyond realistic representation. The horse was also a prominent subject in Marc’s work, which centered on animals as symbols of rebirth.
Vasily Kandinsky
Vasily Kandinsky (1866–1944): From Blaue Reiter to the Bauhaus, 1910-1925, an exhibition of masterworks that explores the development of Kandinsky’s art over a crucial period of time: from the Blaue Reiter period into the pure abstraction and total environments of his Bauhaus years. |
László Moholy-Nagy
One of the Bauhaus masters most directly associated with modern graphic design was László Moholy-Nagy. He believed that art should be all-encompassing, and any means of artistry or crafts – be it sculpture, painting, architecture or poster design, should be influenced by all of the disciplines. His fascination with the modern age allowed him to focus on some of the more modern means of expression and creation, especially poster design and typography. |
Gerrit Thomas Rietveld
Gerrit Thomas Rietveld was a Dutch furniture designer and architect. One of the principal members of the Dutch artistic movement called De Stijl, Rietveld is famous for his Red and Blue Chair and for the Rietveld Schröder House, which is a UNESCO World Heritage Site. |
Gerrit Thomas Rietveld
The Red and Blue Chair is a chair designed in 1917 by Gerrit Rietveld. It represents one of the first explorations by the De Stijl art movement in three dimensions. Bart van der Leck, saw his original model and suggested that he add bright colours. He built the new model of thinner wood and painted it entirely black with areas of primary colors attributed to De Stijl movement.
The Red and Blue Chair is a chair designed in 1917 by Gerrit Rietveld. It represents one of the first explorations by the De Stijl art movement in three dimensions. Bart van der Leck, saw his original model and suggested that he add bright colours. He built the new model of thinner wood and painted it entirely black with areas of primary colors attributed to De Stijl movement.
László Moholy-Nagy
Main Fine Art movements :1900-1945
· ExpressionismEdvard Munch (Visual artist)(Photographer)
Heinrich Campendonk German, 1889–1957 (stained glass designer, printmaker)
· Cubism
Pablo Picasso (visual artist)
· Surrealism
Joan Miró (Spanish, 1893–1983) (the potato)
· Constructivism
László Moholy-Nagy( Photographer)
A Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.
Vladimir Mayakovsky
A Russian and Soviet poet, playwright, artist and stage and film actor.
· Dada
Marcel Duchamp, Fountain, 1917. Photograph by Alfred Stieglitz
Cover of Anna Blume, Dichtungen, 1919
· Fauvism
Henri Matisse (French, 1869–1954)
· Futurism
Giacomo Balla,
· Vorticism
David Bomberg, The Mud Bath,
· ExpressionismEdvard Munch (Visual artist)(Photographer)
Heinrich Campendonk German, 1889–1957 (stained glass designer, printmaker)
· Cubism
Pablo Picasso (visual artist)
· Surrealism
Joan Miró (Spanish, 1893–1983) (the potato)
· Constructivism
László Moholy-Nagy( Photographer)
A Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.
Vladimir Mayakovsky
A Russian and Soviet poet, playwright, artist and stage and film actor.
· Dada
Marcel Duchamp, Fountain, 1917. Photograph by Alfred Stieglitz
Cover of Anna Blume, Dichtungen, 1919
· Fauvism
Henri Matisse (French, 1869–1954)
· Futurism
Giacomo Balla,
· Vorticism
David Bomberg, The Mud Bath,
Joan Miró (Spanish, 1893–1983) (the potato)
The Potato is representative of Miró's poetic riffs on reality. It takes as its subject a gigantic female figure who stretches her arms wide, against a blue sky and above a patch of earth. The billowing white shape of the figure is attached to a red post in the center of the composition like a scarecrow on a pole.
The Potato is representative of Miró's poetic riffs on reality. It takes as its subject a gigantic female figure who stretches her arms wide, against a blue sky and above a patch of earth. The billowing white shape of the figure is attached to a red post in the center of the composition like a scarecrow on a pole.
Three musicians
It is part of series painted while was with his young family in the Fontaineblueau in the summer of 1921. Three Musicians emphasizes lively colors, angular shapes, and flat patterns. The shapes overlap in the sense that the musicians are in harmony and the melody is seems like an eternity.
It is part of series painted while was with his young family in the Fontaineblueau in the summer of 1921. Three Musicians emphasizes lively colors, angular shapes, and flat patterns. The shapes overlap in the sense that the musicians are in harmony and the melody is seems like an eternity.
Edvard Munch
The scream
This painting shows the emotional side that painter was experiencing, which was agony and distress.
The scream
This painting shows the emotional side that painter was experiencing, which was agony and distress.
László Moholy-Nagy
The exploration of colour, light, space and transparency were emphasized to creat e something unified and liberal.
The exploration of colour, light, space and transparency were emphasized to creat e something unified and liberal.
Marcel Duchamp
This kind of art was known as ready-made art. A urinal with a signature and a title.
This kind of art was known as ready-made art. A urinal with a signature and a title.
Henri Matisse
In intensity and immediacy of expression with an abundance of broad and visible dry brush strokes. The painting caused shock and outrage when it was shown at the Salon d'Automne in Paris in 1905, and the painters were derisively labeled fauves ("wild beasts"). Matisse used "deliberate disharmonies" of red, green, orange, purple, and blue. Modeling in the face is created inversely, with green, the complementary of flesh tones.
In intensity and immediacy of expression with an abundance of broad and visible dry brush strokes. The painting caused shock and outrage when it was shown at the Salon d'Automne in Paris in 1905, and the painters were derisively labeled fauves ("wild beasts"). Matisse used "deliberate disharmonies" of red, green, orange, purple, and blue. Modeling in the face is created inversely, with green, the complementary of flesh tones.
Giacomo Balla, (Giacomo Balla), Abstract Speed + Sound, 1913–1914
The cover of the last edition of BLAST, the literary magazine of the British Vorticist movement, a movement heavily influenced by Futurism (Graphic Design)
The cover of the last edition of BLAST, the literary magazine of the British Vorticist movement, a movement heavily influenced by Futurism (Graphic Design)
David Bomberg, The Mud Bath
Bomberg reduces the human figure to a series of geometric shapes may reflect his fascination with the machine age, which he shared with the Futurists and Vorticists. This painting could also represent the human form, stripped to the skeleton.
Bomberg reduces the human figure to a series of geometric shapes may reflect his fascination with the machine age, which he shared with the Futurists and Vorticists. This painting could also represent the human form, stripped to the skeleton.
Comparing the fine art of with the graphic design of this period
The fine art of the period was more attractive than the graphic design. This is so because, fine arts actually aided graphic design and fine art is still used in graphic design today. Fine art was more expansive and was experimented more than graphic design.
The fine art of the period was more attractive than the graphic design. This is so because, fine arts actually aided graphic design and fine art is still used in graphic design today. Fine art was more expansive and was experimented more than graphic design.