Thursday, September 29, 2016

SIMPLICISSIMUS, Le plus grand magazine illustré de tous le temps,


1- Simplicissimus combined brash and politically daring content, with a bright, immediate, and surprisingly modern graphic style.

2- Its most reliable targets for caricature were stiff Prussian military figures, and rigid German social and class distinctions as seen from the more relaxed, liberal atmosphere of Munich.
3- The list of contributors in itself speaks of a modern generation of European artists, such as Rilke, Hermann Hesse, Gustav Meyrink, Theodor Heine, Fanny zu Reventlow, Jakob Wassermann, Frank Wedekind, Heinrich Kley, Alfred Kubin, Otto Nückel, Robert Walser, Heinrich Zille, Hugo von Hofmannsthal, Heinrich Mann, Lessie Sachs, and Erich Kästner.

(a great site here)

Eduard Thony
Karl Arnold, the master of the (oval-figured & squared-figured)
Bruno Paul,
Theodor Heine,

the art of mystery: max klinger's illustrations


Max Klinger was born in Leipzig and studied in Karlsruhe. An admirer of the etchings of Menzel and Goya, he shortly became a skilled and influential engraver in his own right. Klinger traveled extensively around the art centers of Europe for years before returning to Leipzig. From 1897 he mostly concentrated on sculpture. Klinger was cited by many artists (notably de Chirico, as being a major link between the Symbolist movement of the 19th century and the start of the metaphysical and Surrealist movements of the 20th century. Believe it or not, Klinger was a strong influence for one of my favorite photographers, Francesca Woodman.


Gesamtkunstwerk!

Here, the mysterious story of the glove.

what is the Wiener Werkstätte?



looking for a symbolization of modernity.

maria likarz strauss

1- rectangular patterns,
2- modern abstraction,
3- sans serif typeface,

Kolomam Moser Ver Sacrum, 1898 (mythic primitivism return to innocence)


(a quick look at moser's ouvre)

Gustav Klimt first secessionist exhibition poster 1898


is psychedelic art a neo-nouveau?

 
Wes Wilson poster (1967) Grateful Dead at the Philmore


Victor Moscoso (1968)
 
John Hurford's Exeter University Coming Up Ball Poster (1968)

 
John Lennon's 1965 Rolls Royce (Art by The Fool)

Dusty Springfield, Where Am I Going, Cover Album for Phillips

arts and crafts dissemination effected the evolution of graphic and other disciplines throuout europe and the us


Elbert Hubbard was a charismatic and zealous American missionary who promoted social reform through common sense, honest work and entrepreneurialism. After visiting Morris on his deathbed he started a peculiar style of production: affordable lamps, chairs, and other household objects conceived and designed in the spirit of Morris' work. The Philistine boasted a subscriber base in the hundreds of thousands. This cover reveals an Arts and Crafts influence, but the magazine celebrated a folksy attitude (rather than studied, elaborated or refined pose).  

Peter Behrens



Behrens' The Kiss, a six color woodcut, controversial for its androgynous imagery (first reproduced in Pan magazine)

Peter Behrens is one of the most influential Twentieth-Century German designers. At the beginning of the century, he brought forth outstanding works in painting, architecture, graphic design and industrial design, which exerted a paramount influence in all these various fields, opening up uncharted territory for the generations to come.


He is viewed as the founder of modern objective industrial architecture and modern industrial design.

Behren's AEG Turbine Factory (1908-19019)

Josef Hoffmann's amazing Stoclet Palace (1905-11)



Josef Hoffmann was a German architect whose work was important in the early development of modern architecture in Europe.


Take a look at the opulent interior decoration:
 

The Beggarstaffs. A lesson in simplicity.



The Beggarstaffs (Sir William Nicholson, English, 1872-1949 & James Pryde, Scottish, 1866-1941) Under the pseudonym, they virtually created the modern poster, with clear outlines and large areas of flat color.


What's the Beggarstaffs' secret?


1- cut and paste (yes, scissors and colored paper)
2- flat treatment of form, silhouette of 
3- stylized simplification of shape, 
4- Japanese-like handling of perspective (with no influence of Toulouse Lautrec and of the Nabis),

American Art Nouveau: William Henry Bradley





William Henry Bradley was largely self-taught as an artist. He began working in a printer's shop at the age of twelve in Ishpeming, Michigan, where his mother had moved in 1874 after the death of his father. This work experience would be important in introducing the young man to the many issues of typesetting, advertisements, and layout that would occupy him in the years to come. Bradley executed a number of designs to promote The Chap-Book, a short-lived but important publication based in Chicago. His 1894 design for Chap-Book, titled The Twins, has been called the first American Art Nouveau poster; this and other posters for the magazine brought him widespread recognition and popularity. (Above, Bradley's poster for The Chap Book, 1895).

"Jugend" Magazine












Jugend Magazine was a cultural weekly publication. It soon became a style-setting icon that launched the German art nouveau movement, named Jugendstil after the magazine. Within its slim 20-page-or-less weekly format, Jugend published works on art and literature, reproducing paintings, drawings, and other fine artworks by up and coming young artists whom the editors favoured.

Among them, Ernst Barlach (one of the great Jugendstil sculptors and illustrators), Julius Klinger (a German artist of Jewish descent who worked for Jugend from 1896 to 1903), Peter Behrens (a German architect who did a good deal of art for Jugend in the early years of the publication) and Hans Heinrich Christianson (well known as a graphic designer, painter, commercial artist, and decorative artist) amongst others. Though to the modern eye the artwork seems vastly dissimilar in style, there were common elements throughout, and the style of art selected by the Jugend editors as a whole came to be known as Jugendstil. This style was distinct from the other arts and crafts movements in that it focused on Germanic themes and mythologies, providing reinforcement for the unification of the German states.

Jan Toorop


Jan Toorop, a leading Dutch Symbolist Painter, exhibited with Les XX in Brussels, as early as 1884. He developed a unique Symbolist style, with dynamic, unpredictable lines based on Javanese motifs, highly stylised willowy figures, and curvilinear designs. Toorop shows interest in literary metaphor, evocative form, and the linear depiction of scenes in a highly decorative manner of organic nature, often depicting women (he achnowledged Beardsley's influence). Above, Jan Toorop's Psyche (1898).

This is a wonderful Toorop site. 

The Saturday Evening Post


Otto von Bismarck, by George Gibbs

From 1821 to 1969 The Saturday Evening Post published current events articles, editorials, human interest pieces, humor, illustrations, a letter column, poetry (including work written by readers), single-panel cartoons and stories.


It was known for commissioning lavish illustrations and original works of fiction. The illustrations were featured on the cover, and embedded in stories and advertising. Some Post illustrations became popular and continue to be reproduced, especially those by Norman Rockwell.

Jean Delville's artistic mystery

The Treasures of Satan, 1898.
If you want to understand that unique moment in the history of Nineteenth-Century art from 1884-1892 nothing better than the Les XX. One of the the group's most interesting artists is Jean Delville, who lived most of his life in Brussels, but also spent some years in Paris, Rome, Glasgow and London. 

Portrait of Madame Stuart Merril,
 Delville began his training at the Brussels Academy of Fine Arts when he was twelve, continuing there until 1889, and winning a number of top prizes (among them Prix de Rome). In addition to painting, Delville also expressed his ideas in numerous written texts. He became interested in spiritual and esoteric subjects during his early twenties. In 1887 or 1888 he met Sâr Joséphin Péladan, an eccentric mystic and occultist, who defined himself as a modern Rosicrucian, descended from the Persian Magi. 

Delville's monumental Homme Dieu, 1895.
Delville was struck by a number of Péladan’s ideas, among them his vision of the ideal artist as a spontaneously developed initiate, whose mission was to send light, spirituality and mysticism into the world. He exhibited paintings in Péladan's Salons of the Rose + Croix between 1892 and 1895. Sometime during the mid to late 1890s, Delville joined the Theosophical Society, and in 1910 he became the secretary of the theosophical movement in Belgium. 

The Henry van de Velde's unique combination of style, abstract sense of functionality and elegance






Poster for Tropon food concentrate (1899) by Henry van de Velde: This swirling configuration may have been inspired by the separation of egg yolks from egg whites.Van de Velde's dress, specially designed for his wife. Staircase of the Sanatorium of Trzbiechów and the Villa Esche in Chemnitz.

the vienese seccesion purged viennese design of decorative excess

frank vacik, 1912

egon schiele, 1918

The magic of Marcello Dudovich


Born in 1878, Marcello Dudovich attended school in his hometown of Trieste, Italy. Along with his father he worked as a lithographer and illustrator of advertising posters. He also became involved with the blossoming cinematographic industry. In 1900 he was awarded the gold medal at the Universal Exhibition in Paris and in 1920 and 1922 he participated in Biennale of Venice. Dudovich was one of the most acclaimed advertising poster artists of his time. (Above, Dudovich's Poster for Campari, 1901)

Selwyn Image, The Century Guild Hobby Horse (1886)


Artist Selwyn Image along with writer Herbert Horne and other founding members of the Century Guild, used the Hobby Horse to represent an idea of integrated graphic design and the fine arts.

1- The Hobby Horse was a quarterly Victorian periodical in England published by the Century Guild of Artists. The magazine ran from 1884–1894 and spanned a total of seven volumes and 28 issues. It featured various articles not only on arts and design but other subjects including literature and social issues as well.
2- The Century Guild Hobby Horse was one of the last versions of the literature and art journal, a genre born with the Pre-Raphaelite Germ in 1850.
3- Unlike The Yellow Book and The Savoy, The Hobby Horse was not solely committed to an elite aestheticism.

Saturday, September 24, 2016

your turn #5

Brad Holland, Junkie, 1972

this is a great moment in history for the graphic arts: children's books, calendars, cards, comics, puck, chromolithography, gibson, nast, pre-raphaelites, reception, morris, the idea of gesamtkunstwerk, victorian design vs. arts and crafts, a bunch of figures: millais, gaudy, pisarro, mckmurdo, madox brown, grasset, beardsley. 

go ahead! 

this is the list of images & concepts for our midterm exam (review)


here is a list of images for our Midterm Exam.

here is a list of concepts for our Midterm Exam.

1- Identification of images requires the following: Artist, Title, Year.
2- For the images I've added a bit more information, but only for your own knowledge. It never hurts to know more than less.
3- Regarding the list of concepts, i'm linking to Wikipedia articles. what you have there is the basic information-kernel you should know. my fill in the blank, or true/false, etc, questions will be based on that sort of succinct definition. 
4- It's important that you spell the names of these artists & tendencies correctly (if need be, practice the spelling).

we should have our midterm exam in two weeks, i.e., thursday october 6

Thursday, September 22, 2016

Jugedstil, Modernista, Art Nouveau

stairwell in Riga

Known as Jugendstil in Germany, Sezessionstil in Austria, Modernista in Spain, and Stile Liberty or Stile Floreale in Italy, Art Nouveau has become the general term applied to a highly varied movement that was European-centred but internationally current at the end of the century. 
gate of the castle beranger, hector guimard

Art Nouveau architects gave idiosyncratic expression to many of the themes that had preoccupied the 19th century, ranging from Viollet-le-Duc's call for structural honesty to Sullivan's call foran organic architecture. 

Taken from Le Duc's Dictionary of French Architecture 9-16th century
The extensive use of iron and glass in Art Nouveau buildings was also rooted in 19th-century practice. In France, bizarre forms appeared in iron, masonry, and concrete, such as the structures of Hector Guimard for the Paris Métro (c. 1900), the Montmartre church of Saint-Jean L'Évangéliste by Anatole de Baudot, Xavier Schollkopf's house for the actress Yvette Guilbert at Paris, and the Samaritaine Department Store (1905) near the Pont Neuf in Paris, by Frantz Jourdain. 


Art Nouveau architect's preference for the curvilinear is especially evident in the Brussels buildings ofthe Belgian Victor Horta. In the Hôtel Van Eetvelde (1895) he used floral, tendrilous ornaments.  


Decorative exploitation of the architectural surface with flexible, S-shaped linear ornament, commonly called whiplash or eel styles,was indulged in by the Jugendstil and Sezessionstil architects. The Studio Elvira at Munich (1897-98) by August Endell and Otto Wagner's Majolika Haus at Vienna (c. 1898) are two of the more significant examples of this German and Austrian use of line.

(1) make beautiful things available to everyone 
(2) no object is too utilitarian.
(3) nouveau sees no separation in principle between high and low and applied or decorative arts (ceramics, furniture, and other practical objects)
(4) nouveau reacts against the precise and clean geometry of Neoclassicism. it's a form of maximalism.
(5) a new graphic design language, as far away as possible from the historical and classical models employed by the arts academies. it's pretty free-spirited within the conventions of the time,