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TRANSCRIPT
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.