Design of the 20th Century

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Ocr tesseract 4.1.1 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_module_version 0.0.5 Ocr_parameters -l eng Old_pallet IA18112 Openlibrary_edition Access-restricted-item true Addeddate 2020-01-16 07:02:48 Associated-names Fiell, Peter Boxid IA1762319 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier By the 1830s there was a revival of Rococo, to be seen in the porcelain of the period and the chairs of John Belter of New York, and there was something called the “Louis XIV” style, which that monarch would have found difficulty in recognizing. Throughout this period there was a limited amount of pseudo-Chinese decoration, principally on pottery and porcelain and papier-mâché. After 1853, when Commodore Matthew C. Perry of the U.S. Navy reopened Japan to Western trade and influence, a new kind of Japanese art began to be exported, such as the vases of unprecedented ugliness decorated in Tokyo and called Satsuma, or enormous, grossly over-decorated vases from Seto in Owari (presently Aichi Prefecture), none of which would have found a buyer in the Japanese home-market.

Left: Shepard Fairey - Obama Posters - Progress / Center: Shepard Fairey - Vote / Right: Shepard Fairey - Hope. Captions, via Creative Commons A tan leather and chromed Butterfly chair after a design by Antonio Bonet, Juan Kurchan and Jorge Hardoy. Sold for R6,000 via Strauss & Co (June 2022). In addition to such aesthetic, commercial, and corporate purposes, graphic design also played an important political role in the early 20th century, as seen in posters and other graphic propaganda produced during World War I. Colour printing had advanced to a high level, and governments used poster designs to raise funds for the war effort, encourage productivity at home, present negative images of the enemy, encourage enlistment in the armed forces, and shore up citizens’ morale. Plakatstil was used for many Axis posters, while the Allies primarily used magazine illustrators versed in realistic narrative images for their own propaganda posters. The contrast between these two approaches can be seen in a comparison of German designer Gipkens’s poster for an exhibition of captured Allied aircraft with American illustrator James Montgomery Flagg’s army recruiting poster (both 1917). Gipkens expressed his subject through signs and symbols reduced to flat colour planes within a unified visual composition. In contrast, Flagg used bold lettering and naturalistic portraiture of an allegorical person appealing directly to the potential recruit. The difference between these two posters signifies the larger contrast between graphic design on the two continents at the time. Modernist experiments between the world wars

By Aimée McLaughlin February 5, 2018 6:21 pm February 9, 2018 9:47 am Margaret Calvert (1936-present) Photograph by Steve Speller The 19th century was an age of eclecticism. Decorators introduced the custom of having a different style for each room—“Gothic,” “Elizabethan,” or “Old English” for the dining-room; “Queen Anne,” “Chippendale,” or “Louis XVI” for the drawing-room; with pseudo-Elizabethan furniture for the library. Design reached its nadir with the Great Exhibition of 1851, in London, the low-water mark in the history of European taste in interior decoration, from which there was no conceivable direction except upward. Art and design are both influenced by the politics, rise of technology, and the atmosphere of various periods. The produced pieces, poster works, or even the innovations of typography are all linked to the thoughts and challenges the various societies face. The economical, social, political, and cultural factors need to be understood as guides which help designers produce pieces which communicate with its public. Understanding aspects of the history of design assists us not only in the analyzing of both the historical and contemporary context but as an inspiration for future designers as well. The reference to the past and some of its revolutionary ideas gives depth to the piece. At times, the past may be on purposely challenged by new and progressive thoughts that are in constant demand. urn:lcp:designof20thcent0000fiel:epub:29d96ea8-7a58-448b-bbdb-c81c23dc72cc Foldoutcount 0 Identifier designof20thcent0000fiel Identifier-ark ark:/13960/t18m5pt2n Invoice 1652 Isbn 9783836541060

Originally designed by Antonio Bonet, Juan Kurchan, and Jorge Ferrari-Hardoy in Buenos Aires in 1938, it was Knoll Associates who acquired US production rights of the stretched fabric chair and made it famous worldwide when it was featured in their eponymous catalogue from 1947 to 1951. It’s so popular that it has a range of imitators and is also known as the Hardoy Chair, Safari Chair, and Wing Chair. Keep that in mind when searching Invaluable for it.In the second half of the 20th-century major social factors continued to influence the innovations in design. The period of the 1960s and 1970s were decades of major political and social changes. The student protests, the new demands of women, rise of consumerism, and the demonstrations against the Vietnam war influenced the communication of design works. As these events were global events, designers needed to be aware of various cultural sensitivities when designing their works.

Access-restricted-item true Addeddate 2020-06-15 13:04:32 Associated-names Fiell, Peter Boxid IA1829809 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier Left: Joost Schmidt - Poster for the 1923 Bauhaus Exhibition in Weimar, 1923.Captions, via Creative Commons / Right: A. M. Cassandre - Normandie, 1935. Images via widewalls.ch Désirée Lucienne Conradi (later known as Lucienne Day) is widely recognised for her contribution to modern textile design. While her career was initially hindered by the advent of World War Two, Day’s big break came when she was asked to take part in the 1951 Festival of Britain. It was there that she debuted her famous, geometric Calyx textile design as part of the Homes and Gardens Pavilion. Her work was displayed at the pavilion alongside the steel and plywood furniture created by her husband, notable furniture designer Robin Day. Today, Day is known for having brought the drabness of post-war Britain to life with her colourful, patterned designs, which have been applied to countless carpets, wallpapers and ceramics over the years. Some of her biggest clients included John Lewis, Liberty and Heal’s Fabrics, who she produced over 70 patterns for during their two-decade long relationship. She was married to notable furniture designer Robin Day, Swiss designers also brought tremendous vitality to graphic design during this period. After studying in Paris with Fernand Léger and assisting Cassandre on poster projects, Herbert Matter returned to his native Switzerland, where from 1932 to 1936 he designed posters for the Swiss Tourist Board, using his own photographs as source material. He employed the techniques of photomontage and collage in his posters, as well as dynamic scale changes, large close-up images, extreme high and low viewpoints, and very tight cropping of images. Matter carefully integrated type and photographs into a total design. For a short course in modern design, Design of the 20th Century may be all you need. The curator-authors have made perfect, compact sense of a freewheeling century and the figures who defined its styles."The use of propaganda, that had became popular during the period of the war, had put in focus the national pride and political views in early poster design works. During the 60s, the hippie movement not only influenced the fashion and wearable art pieces, but it also helped to shape the psychedelic style of poster and painting pieces. The use of provocative language, the shift in the presentation of women, along with the use of the anti-war slogans, were all consequences of the demonstrations and the changes in the world. Neoclassicism predominated in France till the rise of Napoleon, when to Roman styles were added Egyptian motifs from his Egyptian campaign of 1798. This was known in France as the Empire style, after the First Empire of France (1804–14), and in England as Regency, for the period (1811–20) when George III was too deranged to rule. Furniture design, for the most part light and graceful during the early part of the Neoclassical period in France, had become more consciously luxurious as the Revolution was approached. During the Empire period it became massive, imposing, dark, and pompous. The usual vocabulary of classical ornament is to be found in both Empire and Regency, with some modifications from earlier times. The cabriole leg of the Rococo style became straight, and curves tended to disappear in all furniture. Symmetry of ornament replaced the asymmetrical curves. In England, in the latter part of the 18th century, porcelain became less and less fashionable, and its place was taken by the cream-coloured earthenware (creamware) of Josiah Wedgwood, and by his jasper and basaltes stonewares, all admirably adapted to the new style. Greek vase-shapes and classical ornament were commonly used in the decoration of Wedgwood wares of all kinds. In England, the work of Thomas Hope, a wealthy amateur architect, gained much attention through the publication of his Household Furniture and Interior Decoration (1807). He enlarged and decorated his London home in Duchess Street, Portland Place, and also his country house, Deepdene, in Dorking, Surrey, with somewhat heavy and pedantic design that was at variance with the general trend of the time but influenced later work. urn:lcp:designof20thcent0000fiel_l0m1:epub:45a7e136-3f66-44b5-915f-ad9ec907d010 Foldoutcount 0 Identifier designof20thcent0000fiel_l0m1 Identifier-ark ark:/13960/t1wf2qb9w Invoice 1652 Isbn 3822870390 One of the giants of graphic design in the US, Paula Scher has been a partner at Pentagram’s New York office since 1991. Her big break came in the mid-1990s though, with her landmark, typography-led identity for The Public Theatre. Scher has gone on to create identities for brands ranging from Citbank to Tiffany & Co, and her teaching career includes over two decades at the School of Visual Arts, along with positions at the Cooper Union, Yale University and the Tyler School of Art. She has served on the board of the American Institute of Graphic Arts (AIGA), as well as being awarded its highest honour – the AIGA Medal – in 2001. Scher has also been the subject of various books and films, including a monograph published by Unit Editions, and a Netflix documentary on the “art of design” in 2017.