Exercise 16: The Influence of Modern ArtHistory of graphic designWhat are the key concept of Analytical Cubism and Synthetic Cubism? Who was the key artist of each Cubism concept?Why was Dada movement established? Who was the key artist of this movement?What was Futurism all about? Who introduced the Manifesto of Futurism in 1909?What are the five major techniques invented by Dada artists?What was the key concept of Surrealism? Who was the key artist of Surrealism?Make the answer 3-4 sentences on your words.book is :Meggs, Philip B., and Alston W. Purvis. Meggs’ history of graphic design. John Wiley & Sons, 2016no plagiarism
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Exercise 16: The Influence of Modern Art
History of graphic design
Siriporn Peters
Date:
Student name:
Student ID:
1. What are the key concept of Analytical Cubism and Synthetic Cubism? Who
was the key artist of each Cubism concept?
2. Why was Dada movement established? Who was the key artist of this
movement?
3. What was Futurism all about? Who introduced the Manifesto of Futurism in
1909?
4. What are the five major techniques invented by Dada artists?
5. What was the key concept of Surrealism? Who was the key artist of
Surrealism?
Part IV: The Modernist Era
Assistant Professor Dr. Siriporn Peters
Part IV: The Modernist Era
Graphic Design in the first half of the twen?eth
century
• The influence of Modern Art
• Pictorial Modernism
• A New Language of Form
• The Bauhaus and the New Typography
• The Modern Movement in America
The influence of Modern Art
•
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•
•
•
•
•
•
Cubism
Futurism
Dada
Surrealism
De S?jl
Suprema?sm
Construc?vism
Expressionism
Cubism
(Youtube 6 mins) hQps://www.youtube.com/watch?v=DSZMlfm1Ln0
Cubism
Cubism was one of the
most influen?al visual art
styles of the early
twen?eth century. It was
created by Pablo Picasso
(Spanish, 1881–1973) and
Georges Braque (French,
1882–1963) in Paris
between 1907 and 1914.
hQps://www.moma.org/collec?on/works/
79766
Cubism
• While Picasso and Braque are credited with
crea?ng this new visual language, it was adopted
and further developed by many painters,
including
–
–
–
–
–
–
–
Fernand Léger, Robert
Sonia Delaunay, Juan Gris ,
Roger de la Fresnaye,
Marcel Duchamp,
Albert Gleizes,
Jean Metzinger
Diego Rivera
hQp://www.metmuseum.org/toah/hd/cube/hd_cube.htm
Cubism
Cubism
Analy?c
Cubism
Synthe?c
Cubism
Analy?c Cubism
• This lasted un?l around
1912. As the name
‘analy?cal’ suggests, the
technique involved a
close examina?on and
analysis of the subject
in order to translate it
into flat geometric
shapes, angles
and lines.
Analy?c Cubism
• In Cubist work up to
1910, the subject of a
picture was usually
discernible.
• Although figures and
objects were dissected or
“analyzed” into a
mul?tude of small facets,
these were then
reassembled, aker a
fashion, to evoke those
same figures or objects.
Analy?c Cubism
• During “high” Analy?c
Cubism (1910–12), also
called “herme?c,” Picasso
and Braque so abstracted
their works that they
were reduced to just a
series of overlapping
planes and facets mostly
in near-monochroma?c
browns, grays, or blacks.
Girl With Mandolin (1910), By Picasso
Museum of Modern Art, New York.
Analy?c Cubism:
SJll Life with a BoLle of Rum, Pablo Picasso
• In their work from this
period, Picasso and Braque
frequently combined
representa?onal mo?fs
with leQers.
• Their favorite mo?fs were
s?ll life with musical
instruments, boQles,
pitchers, glasses,
newspapers, playing cards,
and the human face and
figure. Landscapes were
rare.
hQp://www.metmuseum.org/toah/works-of-art/
1999.363.63/
Analy?c Cubism:
SJll Life with Banderillas, Georges Braque
• Exhibi?on curator
Renée Maurer discusses
Georges Braque and the
Cubist S?ll Life,
1928–1945.
The Phillips Collec?on 4 mins: hQps://www.youtube.com/watch?v=Yx34VewJ0bU
Picasso and his bulls
SyntheJc cubism
The main characteris?cs of synthe?c cubism are:
• Brighter colours
• Simpler lines and shapes
• Collage is used alongside paint. Previously
cubism had broken objects down to a grid of
complicated planes (flat shapes). Now the
ar?sts built up their pictures using collage
and simple shapes. So instead of looking
closely at an object such as a boQle in order
to analyse its shape and structure they
created a boQle-like shape from their
imagina?on, making this shape from a simple
paper cutout or drawn outline
• A range of textures: as well as collage, the
cubist ar?sts used a wider range of painted
and drawn marks. A smooth surface might
appear next to collaged newspaper or
paQerned paper; or next to lots of roughly
doQed brush strokes.
hQp://www.tate.org.uk/learn/online-resources/cubism/analy?c-vs-synthe?c
SyntheJc cubism
• Pablo Picasso – S?ll Life
with Chair Caning, 1912
hQps://www.youtube.com/watch?v=i6Hw_SOAitg
SyntheJc cubism
hQps://www.youtube.com/watch?v=1Etys15cFsI
Futurism
hQps://www.khanacademy.org/humani?es/art-1010/wwi-dada/artgreat-war/a/italian-futurism-an-introduc?on
Futurism
• Futurism (Italian: Futurismo) was an ar?s?c
and social movement that originated in Italy in
the early 20th century.
hQps://www.khanacademy.org/humani?es/art-1010/wwi-dada/art-great-war/a/italianfuturism-an-introduc?on
Futurism
• Futurism art movement
was a 20th-century product
of the need for breaking off
with the tradiJonal styles
and the insa?able desire for
modernity.
• It was a celebra?on of
technology, power and
modern life and an aQempt
to demonstrate the beauty
of the machine, speed,
violence and change.
Portrait (1915) by Lyubov Popova (Pic: State Museum of
Contemporary Art – The G Costakis Collec?on)
Futurism
• Socialists have oken felt
rather uncomfortable
with Futurism. This
Italian art movement,
founded in 1909, sang
the praises of new
technology, aeroplanes
and the mass media –
but it also exalted war
and colonialism.
hQps://socialistworker.co.uk/art/10829/The+Russian+ar?sts+who+drew+Futurism+to
+the+lek
Futurism
Futurism was launched
when the Italian poet
Filippo MarineQ
published his manifesto of
Futurism in the Paris
Newspaper Le Figaro on
on February 20, 1909.
Filippo Marineu
Filippo Marineu
• Marineu started this
poetry journal in 1905,
and it follows his
trajectory from poet
rooted in the Symbolist
tradi?on to exponent of
more radical and
belligerent expression.
hQps://www.moma.org/interac?ves/exhibi?ons/2009/futurism/
Poem of Marineu on a wall in Leiden
•
Lewis Carroll
• Lewis Carroll,
Typographic Image,
1866. This graphic
experiments in
figura?ve typography
has received both
design and literary
acclaim.
A precursor to cinema
• The Futurists were
par?cularly excited by
the works of late 19thcentury scien?st and
photographer ÉJenneJules Marey, whose
chronophotographic
(?me-based) studies
depicted the mechanics
of animal and human
movement.
hQps://www.khanacademy.org/humani?es/art-1010/wwi-dada/art-great-war/a/
italian-futurism-an-introduc?on
Giacomo Balla
• A precursor to cinema,
Marey’s innova?ve
experiments with ?melapse photography were
especially influen?al for
Balla.
• In his pain?ng Dynamism
of a Dog on a Leash, the
ar?st playfully renders
the dog’s (and dog
walker’s) feet as
con?nuous movements
through space over ?me.
hQps://www.khanacademy.org/humani?es/art-1010/wwi-dada/art-great-war/a/
italian-futurism-an-introduc?on
Giacomo Balla
• Giacomo Balla (18 July
1871 – 1 March 1958)
was an Italian painter,
art teacher and poet
best known as a key
proponent of Futurism.
In his pain?ng he
depicted light,
movement and speed.
Giacomo Balla
hQp://www.italianways.com/casa-balla-a-color-explosion/
Dada
Cover of the first edi?on of the publica?on Dada by Tristan Tzara; Zürich,
1917
Dada
• Dada or Dadaism was an art movement of the
European avant-garde in the early 20th
century, with early centers in Zürich,
Switzerland at the Cabaret Voltaire (circa
1916), in New York (circa 1915), and aker
1920, in Paris.
Dada Techniques
•
•
•
•
•
•
•
•
•
•
Photomontage
Collage
Assemblage
Readymade
Typography
Sound Poem
Abstrac?on
Chance
Photography
Overprin?ng
hQp://www.nga.gov/exhibi?ons/2006/dada/techniques/
Photomontage
Collec?vely developed by
the Berlin Dada group,
photomontage is a
varia?on of collage in
which pasted items are
actual photographs or
photographic
reproduc?ons culled from
the press.
hQp://www.nga.gov/exhibi?ons/2006/dada/techniques/
Photomontage
• Ar?sts outside of Berlin
also experimented with
the new technique. In
Cologne, Max Ernst
frequently used military
photographs as source
material for
photomontages.
Max Ernst
German, 1891–1976
Un3tled, 1920
photomontage, collage, and pencil on
photographic reproduc?on mounted on
board
Collage
• The dadaists further
developed the collage
technique recently
discovered by Pablo
Picasso and Georges
Braques in Paris. Like the
cubists, the dadaists
pasted papers, fabric and
other two-dimensional
materials to their works,
breaking down the barrier
between art and
everyday life.
Kurt SchwiLers
French, 1887–1946
Die heilige Sa7lermappe (The Holy Saddlers’
Porxolio), 1922
Collage
• Dada was developed in
reac?on to World War I.
• The art of the
movement spanned
visual, literary, and
sound media, including
collage, sound poetry,
cut-up wri?ng, and
sculpture.
Hannah Höch, Cut with the Dada Kitchen Knife through the
Last Weimar Beer-Belly Cultural Epoch in Germany, 1919,
collage of pasted papers
Assemblage
• Assemblage refers to a
three-dimensional work
of art comprising found
elements. These works
can be sculptural
objects that are seen in
the round, as well as
pictures that are hung
on walls.
Raoul Hausmann, Mechanischer Kopf (Der Geist
unserer Zeit) (Mechanical Head [The Spirit of Our
Age]), c. 1920
Readymade
Readymades are everyday
manufactured goods that
are deemed to be art
merely by virtue of the
ar?st’s selec?on of them
as such. They were
invented by Marcel
Duchamp who wanted to
test the limits of what
qualifies as a work of art.
Marcel Duchamp
French, 1887–1968
L.H.O.O.Q., 1919
rec?fied readymade: pencil on reproduc?on of
Leonardo da Vinci’s Mona Lisa
Readymade
• New York City was a
refuge for writers and
ar?sts from the First
World War. Soon aker
arriving from France in
1915, Marcel Duchamp
and Francis Picabia met
American ar?st Man Ray.
By 1916 the three of
them became the center
of radical an?-art
ac?vi?es in the United
States.
Marcel Duchamp, Fountain, 1917.
Photograph by Alfred S?eglitz
Typography
• Dadaists delighted in
uncoven?onal
typographic design,
frequently mixing fonts
employing unorthodox
punctua?on, prin?ng
both horizontally and
ve?cally on a single sheet,
and sprinkling texts with
randomly chosen printers’
symbols.
Tristan Tzara
Romanian, 1896–1963
Poster for Salon Dada, Exposi3on
Interna3onale, Galerie Montaigne, 1921
lithograph
Sound poem
• The German ar?st and poet
Hugo Ball’s final
performance at the Cabaret
Voltaire in Zurich marked
the beginning of a new
genre variously known as
sound poems, poems
without words, or abstract
poems. To construct them
language is broken down
into its abstract parts
(syllables and individual
leQers) and then
reconfigured as
meaningless sounds.
hQp://www.nga.gov/exhibi?ons/2006/dada/techniques/sound.shtm
Abstrac?on
Abstrac?on played an
important role in the Dada
movement from its
beginnings at the Cabaret
Voltaire in Zurich.
Influenced by Vasily
Kandinsky, Zurich dadaists
understood abstrac?on as
a way of gaining access to
a more ins?nc?ve inner
consciousness.
Hans Arp and Sophie Taeuber
French, 1886–1966; Swiss 1889–1943
Un3tled (Duo-Collage), 1918
collage of paper, board, and silver leaf on
board
Chance Crea?on
• “The ‘law of chance,'” Hans
Arp wrote, “can be
experienced only in a total
surrender to the
unconscious.” Using chance
as a technique for making
works of art also presented
a cri?que of the tradi?onal
no?on of ar?s?c mastery
and technical excellence.
Ar?s?c crea?on was no
longer firmly in the control
of the ar?st, but instead
was instead given over to
arbitrary decision making.
hQps://www.moma.org/learn/moma_learning/themes/dada/marcel-duchamp-andthe-readymade
Photography
As a form of mechanical
reproduc?on,
photography was
maligned as being more
technological than
crea?ve.
Dadaists, in contrast,
embraced photography,
relishing its modern
means of crea?on.
Max Ernst. The Hat Makes the Man. 1920
Chance Crea?on
• Skep?cal of reason in
the wake of the war,
dadaists turned to
chance as an an?dote.
The random and the
accidental offered a
way of leung go of
conscious control.
Photgraphy
Overpain?ng
• The Cologne dadaist Max
Ernst created a series of
works in which he painted
or drew over pages of
found print materials. He
overpainted or
embellished wallpapers,
kniung and croche?ng
instruc?on sheets, pages
from handicrak booklets,
and a printer’s vigneQe
catalogue.
Max Ernst
German, 1891–1976
la bicycle7e graminée…(The Gramineous
Bicycle…), c. 1921
gouache and ink on botanical chart with
ink inscrip?on
“Everybody can Dada”
—Dada-Fair, Berlin, poster, 1919
Dada blasted onto the scene in 1916 with earspliung enthusiasm: rowdy, brazen, irreverent,
and assaul?ng. Its sounds were clamorous, its
visions were shocking, and its language was
explosive. Yet Dada was not aimless anarchy.
Rather, the ar?sts were responding to the
violence and trauma of World War I—and to the
shock of modernity more generally—by
developing shock tac?cs of their own.
hQp://www.nga.gov/exhibi?ons/2006/dada/ci?es/index.shtm
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