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Chapter 14:

Pictorial ModernismThe early 20th century

Pictorial Modernism-The early 20th century

Communication and Transportation became more prevalent.

Motorcar (1885), airplane (1903), motion picture (1896), wireless radio transmission (1895).

The potential of abstractive & reductive drawing, including the simplifying of ornamental flourishes was being explored by designers.

Beggarstaff BrothersJames Pryde and William Nicholson, Beggarstaffs Brothers

What Gestalt principles can you identify in these posters?

The Beggarstaffs, poster for Harper’s Magazine, 1895.

The Beggarstaffs, poster for Kassama corn flour, 1894

Plakastil (poster style)

Lucian Bernhard

poster for Stiller shoes, 1912.

"Plakatstil" means "poster style" in German. Plakatstil, was an early poster style of art that began in the early 1890's and originated out of Germany.

Plakastil (poster style)

Lucian Bernhard

poster for Priester matches, c. 1905.

What are the graphic characteristics of Plakastilstyle?

Characteristics: • usually bold, straight font with very simple design. • flat presentation• shapes and objects are simplified while the subject

of the poster remains detailed.• a strong central color

Plakastil: Lucian Bernhard

Flinsch Type Foundry, Bernhard Antiqua, 1913.

Trademark for HommelMicrometers, 1912.

Poster for Manoli, 1910

Lucian Bernhard, trademark for Manolicigarettes, 1910. A simple M in a circle suggests the minimalism of future trademarks.

Plaskastil: Hollerbaum and Schmidt

Hans Rudi Erdt and Julius Gipkins

Plaskastil: Hollerbaum and Schmidt

Hans Rudi Erdt and Julius Gipkins

Hans Rudi Erdt, poster for Never Fail safes, 1911. Julius Gipkens, poster for Heinemann’s wicker furniture, undated.

Switzerland & Sach Plakat

What are the characteristics of Sach Plakat(object style) poster?

Niklaus Stoecklin, Bi-Oro poster, 1941.

Switzerland & Sach Plakat

The Matterhorn emerges in all its splendor above the landscape and simple lettering below.

Emil Cardinaux, Zermatt poster, 1908.

What are the characteristics of Sach Plakat(object style) poster?

The Poster Goes to War

The poster reached the zenith of its importance as a communications medium during WWI.

The Poster Goes to War (1914-1918)

Central Powers Posters(Germany & Austria-Hungry)

• The poster reached its zenith during WW1(1914-18).

• Governments turned the poster into a significant medium of propaganda and visual persuasion.

• In Austria-Hungary, and Germany, war posters continued the traditions of the Vienna Secession and the simplicity of Plakatstil pioneered by Bernhard.

The Poster Goes to War(1914-1918)

Lucian Bernhard, poster for a war-loan

campaign, 1915.

A good example is Bernhard's 1915 poster for a war-loan campaign in which a clenched fist in medieval armor and blackletter typography captured the ancient Germanic spirit and stirred national pride.

The Poster Goes to War(1914-1918)

Julius Klinger, poster for Germany’s eighth bond drive, 1917.

The Poster Goes to War

Central Powers Posters(Germany & Austria-Hungry)

• Drew upon the design approach established by the Vienna Secession and Plakastil.

• Words and images were integrated, and the essence of the communication was conveyed by simplifying imaged into powerful shapes and patterns.

• Showing the destruction of enemy symbols or flags was a frequent propaganda device for the Central Powers.

The Poster Goes to War

Central Powers Posters(Germany & Austria-Hungry)

Trophies of the Air War (1917) Jules Gipkins

A symbolic German eagle sits triumphantly upon the indicia of a captured allied aircraft.

• Captured trophies from the war in the air

• A silhouetted black eagle perched on the bullet-holed roundel marking an allied plane.

• Fluid rococo drawing style contrasted with the reductive imagery favored by Bernhard & Erdt.

The Poster Goes to War

Central Powers Posters(Germany & Austria-Hungry)

U-Boats Out! (1916) Hans Rudi Erdt

A powerful structural joining of type and image proclaimed, “U-Boats Out!”

The Poster Goes to War

Allied Powers Posters(Britain, France and the US)

The Allies approach to graphic propaganda was more illustrative, with literal rather than symbolic imagery

used to address propaganda objectives

Poster for Germany's eighth bond drive (1917)Julius Klinger

Poster for the American Red Cross (1918)Jesse WillcoxSmith

The Poster Goes to War

Be sure to be able to compare and contrast the themes and styles of the Allied and Central power war posters.

Joseph C. Leyendecker Jesse Willcox Smith

Basic objectives of the propaganda posters

� Recruitment� Conservation of resources� Raising Revenue� Morale and/or propaganda

Recruitment

Saville Lumley, “Daddy, What Did YOU Do in the Great War?” poster, 1914.

RecruitmentIn one of Hohlwein’s last Nazi posters, a stern and somber soldier appears above a simple question, “And you?”

Und Du? (1932)Ludwig Hohlwein

Idealizing Patriotism

James Montgomery Flagg, poster for military recruiting, 1917.

James Montgomery Flagg created an American version in 1917

the Uncle Sam "I want you for the U.S. Army" poster was one of the most reproduced posters in history—five million copies were printed.

Idealizing Patriotism

Alfred Leete, poster for military recruiting, c. 1915.

James Montgomery Flagg, poster for military recruiting, 1917.

The Maverick from Munich: Ludwig Hohlwein

poster for men’s ready-made clothing, 1908.

Starnbergersee poster, 1910.

fund-raising poster, 1914.

The Maverick from Munich: Ludwig Hohlwein

How did Hohlwein’s poster reflect Hitler’s opinion of how propaganda should be used in a society?

A sample of Hohlwein’s WWII propaganda posters.

Art DecoAfter World War I, cubist ideas inspired a new direction in pictorial images, often referred to as art deco, a term used to identify popular geometric works of the 1920s and 1930s.

• Popular geometric works of the 1920s and 1930s.

• Streamlining, zigzag, and decorative geometry were used to express the modern era of the machine while still satisfying a passion for decoration that carried over from art nouveau.

• The influences included cubism, the Bauhaus, the Vienna Secession commingled with de Stijl and suprematism (see Chapter 15), as well as Egyptian, Aztec, and Assyrian motifs.

Ironically, this art deco–inspired poster for the anarchist National Confederation of Labor (CNT), Spain’s largest trade union, is clearly influenced by Ludwig Holwein’s1936 Deutsche Lufthansa poster.

Spanish Civil War Posters

This Nationalist poster is a clear expression of brute power.

Arturo Ballester, “Hail to the Heroes,” poster, c. 1937.

Martinez Ortiz, “Discipline,” poster, c. 1937.

Pre-Cubist Pictorial ModernismEdward McKnight Kauffer

Post-Cubist Pictorial Modernism

A. M. Cassandre

A. M. Cassandre, poster for the furniture store Au Bucheron, 1923.

Post-Cubist Pictorial Modernism

A. M. Cassandre

What is the symbolism behind this poster?

Post-Cubist Pictorial Modernism

A. M. Cassandre

Post-Cubist Pictorial Modernism

Explain the graphic symbolism behind each progressive panel.

A. M. Cassandre, poster for Dubonnet. 1932

Post-Cubist Pictorial Modernism

A. M. Cassandre

Bifur typeface, 1929. Strokes from each letter are omitted; a linear shaded area restores the basic silhouette.

Post-Cubist Pictorial Modernism

Austin Cooper made a direct application of cubism to graphic design in England.

How are cubist ideals applied to these designs for the London Underground?

Austin Cooper, poster for the London Underground, 1924.

Pre-Cubist Pictorial Modernism

He reduced natural images to basic forms and shapes like the cube, sphere, and cone.

Joseph Binder

Award winning poster for the Vienna Music and Theater Festival, 1924.

Pre-Cubist Pictorial Modernism

The art deco idiom often conveyed unbridled optimism for machines and human progress, but here it turns darkly toward a future where robots replace people.

Heinz Schulz-Neudamm, cinema poster for Metropolis,

1926.

Heinz Schulz-Neudamm

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Conclusion

Modernist pictorial graphics in Europe focused on the total integration of WORD and IMAGE. This became one of the most enduring currents of 20th

century design.

The momentum of the movement continued to provide graphic solutions to communication

problems during WWII and beyond.