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| Author | : Patrick Rössler |
| Publisher | : |
| Total Pages | : 240 |
| Release | : 2018 |
| Genre | : Avant-garde (Aesthetics) |
| ISBN | : |
For the Bauhaus anniversary in 2019 and beyond: A book about the revolution of book and advertising design in the 1920s - how the functional graphic design of the Bauhaus prevailed throughout Germany --machine-translated summary
| Author | : |
| Publisher | : |
| Total Pages | : |
| Release | : 2021-11-02 |
| Genre | : |
| ISBN | : 9780998318097 |
| Author | : Tim Satterthwaite |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 265 |
| Release | : 2023-09-21 |
| Genre | : Photography |
| ISBN | : 1350278653 |
In the late nineteenth and early twentieth century, ideals of technological progress and mass consumerism shaped the print cultures of countries across the globe. Magazines in Europe, the USA, Latin America, and Asia inflected a shared internationalism and technological optimism. But there were equally powerful countervailing influences, of patriotic or insurgent nationalism, and of traditionalism, that promoted cultural differentiation. In their editorials, images, and advertisements magazines embodied the tensions between these domestic imperatives and the forces of global modernity. Magazines and Modern Identities explores how these tensions played out in the magazine cultures of ten different countries, describing how publications drew on, resisted, and informed the ideals and visual forms of global modernism. Chapters take in the magazines of Australia, Europe and North America, as well as China, The Soviet Turkic states, and Mexico. With contributions from leading international scholars, the book considers the pioneering developments in European and North American periodicals in the modernist period, whilst expanding the field of enquiry to take in the vibrant magazine cultures of east Asia and Latin America. The construction of these magazines' modern ideals was a complex, dialectical process: in dialogue with international modernism, but equally responsive to their local cultures, and the beliefs and expectations of their readers. Magazines and Modern Identities captures the diversity of these ideals, in periodicals that both embraced and criticised the globalised culture of the technological era.
| Author | : Gerd Fleischmann |
| Publisher | : |
| Total Pages | : 368 |
| Release | : 1984 |
| Genre | : Advertising layout and typography |
| ISBN | : |
| Author | : Petra Eisele |
| Publisher | : Kettler verlag |
| Total Pages | : 0 |
| Release | : 2019 |
| Genre | : Documents, Printing of |
| ISBN | : 9783862067541 |
"In 1929, ten years after the Bauhaus was founded, Berlin's Martin-Gropius-Bau launched the exhibition 'New Typography.' László Moholy-Nagy, who had left Dessau the previous year and had earned a reputation as a designer in Berlin, was invited to exhibit his work together with other artists. He designed a room--entitled 'Wohin geht die typografische Entwicklung?' ('Where is typography headed?')--where he presented 78 wall charts illustrating the development of the 'New Typography' since the turn of the century and extrapolating its possible future. To create these charts, he not only used his own designs, but also included advertising prints by colleagues associated with the Bauhaus. The functional graphic design, initiated by the 'New Typography' movement in the 1920s, broke with tradition and established a new advertising design based on artistic criteria. It aimed to achieve a modern look with standardized typefaces, industrial DIN norms, and adherence to such ideals as legibility, lucidity, and straightforwardness, in line with the key principles of constructivist art. For the first time, this comprehensive publication showcases Moholy-Nagy's wall charts which have recently been rediscovered in Berlin's Kunstbibliothek. Renowned authors provide insights into this treasure trove by each contributing to this alphabetized compilation starting with 'A' for 'Asymmetry' and ending with 'Z' for 'Zukunftsvision' ('vision of the future'). By perusing through the pages and allowing a free flow of association, the typographical world of ideas of the 1920s avant-garde is once again brought back to life." Exhibition: Kunstbibliothek, Staatliche Museen zu Berlin, Germany (29.08. - 15.09.2019)
| Author | : Annie Bourneuf |
| Publisher | : University of Chicago Press |
| Total Pages | : 266 |
| Release | : 2015-07-20 |
| Genre | : Art |
| ISBN | : 022623360X |
The fact that Paul Klee (1879–1940) consistently intertwined the visual and the verbal in his art has long fascinated commentators from Walter Benjamin to Michel Foucault. However, the questions it prompts have never been satisfactorily answered—until now. In Paul Klee, Annie Bourneuf offers the first full account of the interplay between the visible and the legible in Klee’s works from the 1910s and 1920s. Bourneuf argues that Klee joined these elements to invite a manner of viewing that would unfold in time, a process analogous to reading. From his elaborate titles to the small scale he favored to his metaphoric play with materials, Klee created forms that hover between the pictorial and the written. Through his unique approach, he subverted forms of modernist painting that were generally seen to threaten slow, contemplative viewing. Tracing the fraught relations among seeing, reading, and imagining in the early twentieth century, Bourneuf shows how Klee reconceptualized abstraction at a key moment in its development.
| Author | : Hannes Meyer |
| Publisher | : London : A. Tiranti |
| Total Pages | : 188 |
| Release | : 1965 |
| Genre | : Architecture |
| ISBN | : |
| Author | : Bauhaus-Archiv, Museum für Gestaltung |
| Publisher | : |
| Total Pages | : 120 |
| Release | : 1979 |
| Genre | : |
| ISBN | : |
| Author | : Annemarie Jaeggi |
| Publisher | : |
| Total Pages | : 304 |
| Release | : 2015 |
| Genre | : Art |
| ISBN | : |
Organized into three sections addressing Bauhaus location, history and character, the book highlights its open-ended curriculum, workshop-based combination of research and design, theory and practice, and its structural inte- gration of artistic disciplines that make it a model for the future.
| Author | : Anton Stankowski |
| Publisher | : Wiley-VCH |
| Total Pages | : 292 |
| Release | : 1996-12 |
| Genre | : Architecture |
| ISBN | : |
The painter, photographer and commercial artist Anton Stankowski was born in 1906 in Gelsenkirchen, Germany, and now lives in Stuttgart. The basic concepts for his work developed out of the context of the 1920s. Lasting impressions were made on him especially by the New Objectivity, the Russian avant-garde, the Stijl movement, and the theoretical concepts of the Bauhaus. Stankowski was a dedicated proponent of the unity of free and applied art. For the field of commercial art, this approach logically entails the most demanding of artistic expectations. In advertising, he utterly renounces decorative elements and concentrates, in the visual realization of the information to be conveyed, on objective and compressed representation. In his photography, this approach leads to the nearing of reality in an immediate form of presentation befitting this medium. Stankowski's street scenes created at the end of the 1920s clearly reveal the demands he imposed in this respect. Stankowski is considered a predecessor of the "Züricher Konkrete," and of the "Neue Fotografie." These movements turned away from stylized artistic photography as it had been cultivated by conservative photographers since the beginning of this century. Commercial art and photography, however, are not the only fields in which Stankowski has become involved. He has increasingly dedicated himself to painting and has shown his works in a number of exhibitions since the 1970s. His earliest paintings date from about 1925.
