Theo Van Doesburg's Manifesto Of Art Concret
Modernism developed during the early twentieth century; it was the beginning of a rising stylist change. Old styles were rejected with new forms of art leading to a continuous revolution. Artists, designers and architects around Europe began believing that industrial mass production and technological growth would guide them into the new century. Persisting with these innovative components, transformed the way artists, designers and general society to think, experience and express in a new way; affecting different forms of design including architecture, art, literature and music. This fresh perspective marked ‘an interest in exploring new materials, a rejection of historical precedents, and a simplification of forms by reduction of ornament.’
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(Masters of Modernism, 2004)
Modern art was often influenced by social aesthetics such as political and economical conditions. However, some were also influenced by architecture too; specifically speaking these factors strongly provoked the prominent Constructivist style in Russia. Constructivist thought of themselves as engineers, combining mathematical logics with design aspects. Under strong socio-political agendas, El Markovich Lissitzky a well-known, respected designer that help bring the ideas of the Soviet Russia west, composed abstract compositions of geometric shapes and juxtaposes circles, triangles and squares in a dynamic way to portray these matters. Particularly in Russia, the ideas between an artist and an architect were very much blurred, ‘artists produced works whose abstract geometry aspired to resemble buildings.’ (The Guardian, 2011)
Another style that was also fond of geometric forms and abstraction was the Dutch avant-garde movement De Stijl (Holland); they believed combining geometric forms, simplicity and abstracts element would create a stronger design. Highly inspired by this was Theo Van Doesburg, which helped revolutionize modern graphic design, through constant development of the De Stijl journal. Later in 1926, Van Doesburg published a journal named “The End of Art”, proving as an anti-art movement, which later lead to typography being in cooperated alongside their style.
Both Constructivism and De Stijl inspired Bauhaus and their stylistic ways. Bauhaus was the leading school of art, design and architecture in the world. Teaching methods were thought as artists working collaboratively. Commonly students were told “Form Follows Function”, which meant creating communication designs that suited modern society; this evolved to be recognized as New Typography. Typography workshops lead by Moholy-Nagy and Herbert Bayer developed the idea of asymmetric type, expressing a commitment to functionalism, which became the trademark of Bauhaus typography.
Collaborations between Bauhaus, Lissitzky, Van Doesburg and Kurt Schwitters (German Dada artist) in early thirties created a new design approach that was known over the world.
Beat the Whites with the Red Wedge 1919 Poster.
Lithography (reprinted 1966), 48.8 x 69.2 cm
El Lissitzky’s designs are often highly influenced by political and social issues that rose in that time. The message of this image shows the red (communist revolution) invadeing the space of the white (anti-revolutionary forces). The circle represents a symbol for the unchangeable and the red point enters that space demonstrating power and strength. Combining artistic and engineer qualities, he constructs geometric shapes in a dynamically abstract way so that it adds ‘pictorial significance’. (Milner. 2009 p.17) Some texts placed within Lissitzky’s designs are usually of uneven size; this is because it was an act of rebellion against tradition and limitations.
LEF (Zhumal levego fronta iskusstv), The Journal of the Left Front of the Arts (1923). Cover design for the second issue, a symbolic line struck through figures from the past, Russia.
Alexandr Rodchenko’s designs are very recognizable; they consist of bold colours (often red, green, and black), heavy san serif lettering and strong uses of horizontal and vertical lines. He also incorporates strong influences from politics, specifically responding towards the communist society in Russia. Very commonly there are images or photos of iconic expressions and leaders situated on his designs. Furthermore, uniting all these components including photomontage completes Rodchenko’s propaganda style.
Composition (1922). Collage. Kurt Schwitters.
Museum of Fine Arts, Budapest, Hungary.
Kurt Schwitters was a typographer, artist and poet. Following in Dadaism, his works rarely proposed about political issues, instead rather more organically formed subjects. Merging together found objects whilst inspired by fine art and architecture, he creates designs that are experimental and abstract. Using abstract imagery along with collage, Schwitters shows the process of the biographical and historical substance of the materials. Schwitters later became more apparent of the Constructivist style and began applying the principles within his own designs, having met Van Doesburg and Lissitzky.
Painting, Photography, Film (1925). Design for a double-page spread for the eighth volume in a series of 14 Bauhaus books, edited by Moholy-Nagy and Walter Gropius.
Bauhaus distinct style uses geometric, rigid and balanced forms to create architectural inspired designs. Laslo Moholy Nagy’s influence on this double spread page very much supports the Bauhaus style. His work specifically focuses on photomontage and text, which then later influenced Bauhaus students to begin using these technique in future typographic designs. By incorporating text, photo and montage he used these principles for commercial properties rather than envisioning on creating something new.
Book cover, from the ‘Grundbegriffe der Neuen Gestaltenden Kunst’, 6th in a series of Bauhaus books, published 1925-30 (colour litho).
Private Collection
Founder and leader of the Dutch movement, De Stijl, Theo Van Doesburg adopted the style of combining rectangular forms and vibrant primary colours. Within this, there would be essences of grey, black and white areas. Like many artists of this era, Van Doesburg was influenced with geometric forms; he was also very fond of the idea about purity and simplicity that he detailed it in his Manifesto of Art Concret.
With the sudden appearance of artist movements, Modernism was indefinitely known to bring innovative change to the world. As this new trend of change began, artists and designers believed that the ‘urge to establish the current generation as being different and free from its predecessors’ was going to be their main aim in order to lead Modernism forward. (Eysteinsson and Liska, 2007 p.233) During that era, society issues hugely influenced designs, more commonly inspired by politics and economical factors. They thought that designs that provoked these matters gave the foundation of what the ‘social experience of living in the modern world’ was really like. (Meecham and Sheldon, 2005 …show more content…
p.15)
Having analysed images from different designers and typographers, there was an obvious correlation between all of them –abstract forms.
Using abstract imagery to represent their new style was an extremely difficult and challenging concept; ‘Abstract art had to fight to defend itself against a reactionary world’ seeing as this new form was completely opposite to the previous norm, which was very figurative. (Hammacher, 1964 p.5) However, soon after this controversy, abstract art began to be accepted. ‘Abstraction, the single most important characteristic of the art of this century’ was used and noticed by all designers; it was now that ‘Abstract art was appearing everywhere’. (Barron and Tuchman, 1980 p.12) (Hammacher, 1964 p.5) There was another visual aspect that was just as popular; this was the use of geometric forms. Often designs combined horizontal and vertical lines, shapes (circles, squares, rectangles and triangles) and the orientation was generally simplistic. This too, was a fresh concept as shapes were being used to create and promote messages, as well as enhancing a more bold striking
design.
When discussing the time Modernism began, it was not during the early twentieth century as stated previously, but instead Modernism began earlier than this. It started during mid-nineteenth century but did not gain rapid momentum until late nineteenth century and early twentieth century. Outbreaks of wars, revolutions and rejections of movements took over half of the nineteenth century; so as time travelled closer towards the beginning of the twentieth century as did the Modernist movement travel closer to becoming more subjective to certain artistic styles.
Alongside this, industry was improving, the production of goods and technology was also booming. This was when artists, designers and architects felt it was a necessity to find a new direction for design. They wanted to move away from the old and bring a new perspective in view. Although the term most often referred to art and its traditions being challenged, it was not the only topic that could be associated with Modernism. In fact, Modernism did not only relate to art, but as well it was attempting to modernize culture, society, methodologies, tradition and religion; it was not a movement that limited itself to a certain area or country, but instead ‘Modernism as a World-wide Movement’. (Voll 2010 p.3)
One example that supports the ideology of Modernism is: Beat the Whites with the Red Wedge poster by El Lissitzky. This is because it incorporates many aspects that made Modernism a very strong and influential movement. It uses the features of abstract elements to portray dynamically the political and social issues of that time. Collectively, Lissitzky also successfully presents this in the Constructivist style, with the ideas of a designer, engineer and some architectural components. Not only this, but the placement of the geometric shapes, the mathematical logarithms measured and the technical use of negative space have also been put into consideration, in order to ‘develop a new understanding of time, space and society.’ (Milner, 2009 p.18) Although this image is very politically strong, it could also suggest the idea that the red and white are in conflict. Not only this, but because there are more areas of white, it may influence the idea that the white has more significance than the red. However, once the image and the title have been united, the message of invading the white space with the red is very prominent and obvious.
(Masters of Modernism, 2004)
Modern art was often influenced by social aesthetics such as political and economical conditions. However, some were also influenced by architecture too; specifically speaking these factors strongly provoked the prominent Constructivist style in Russia. Constructivist thought of themselves as engineers, combining mathematical logics with design aspects. Under strong socio-political agendas, El Markovich Lissitzky a well-known, respected designer that help bring the ideas of the Soviet Russia west, composed abstract compositions of geometric shapes and juxtaposes circles, triangles and squares in a dynamic way to portray these matters. Particularly in Russia, the ideas between an artist and an architect were very much blurred, ‘artists produced works whose abstract geometry aspired to resemble buildings.’ (The Guardian, 2011)
Another style that was also fond of geometric forms and abstraction was the Dutch avant-garde movement De Stijl (Holland); they believed combining geometric forms, simplicity and abstracts element would create a stronger design. Highly inspired by this was Theo Van Doesburg, which helped revolutionize modern graphic design, through constant development of the De Stijl journal. Later in 1926, Van Doesburg published a journal named “The End of Art”, proving as an anti-art movement, which later lead to typography being in cooperated alongside their style.
Both Constructivism and De Stijl inspired Bauhaus and their stylistic ways. Bauhaus was the leading school of art, design and architecture in the world. Teaching methods were thought as artists working collaboratively. Commonly students were told “Form Follows Function”, which meant creating communication designs that suited modern society; this evolved to be recognized as New Typography. Typography workshops lead by Moholy-Nagy and Herbert Bayer developed the idea of asymmetric type, expressing a commitment to functionalism, which became the trademark of Bauhaus typography.
Collaborations between Bauhaus, Lissitzky, Van Doesburg and Kurt Schwitters (German Dada artist) in early thirties created a new design approach that was known over the world.
Beat the Whites with the Red Wedge 1919 Poster.
Lithography (reprinted 1966), 48.8 x 69.2 cm
El Lissitzky’s designs are often highly influenced by political and social issues that rose in that time. The message of this image shows the red (communist revolution) invadeing the space of the white (anti-revolutionary forces). The circle represents a symbol for the unchangeable and the red point enters that space demonstrating power and strength. Combining artistic and engineer qualities, he constructs geometric shapes in a dynamically abstract way so that it adds ‘pictorial significance’. (Milner. 2009 p.17) Some texts placed within Lissitzky’s designs are usually of uneven size; this is because it was an act of rebellion against tradition and limitations.
LEF (Zhumal levego fronta iskusstv), The Journal of the Left Front of the Arts (1923). Cover design for the second issue, a symbolic line struck through figures from the past, Russia.
Alexandr Rodchenko’s designs are very recognizable; they consist of bold colours (often red, green, and black), heavy san serif lettering and strong uses of horizontal and vertical lines. He also incorporates strong influences from politics, specifically responding towards the communist society in Russia. Very commonly there are images or photos of iconic expressions and leaders situated on his designs. Furthermore, uniting all these components including photomontage completes Rodchenko’s propaganda style.
Composition (1922). Collage. Kurt Schwitters.
Museum of Fine Arts, Budapest, Hungary.
Kurt Schwitters was a typographer, artist and poet. Following in Dadaism, his works rarely proposed about political issues, instead rather more organically formed subjects. Merging together found objects whilst inspired by fine art and architecture, he creates designs that are experimental and abstract. Using abstract imagery along with collage, Schwitters shows the process of the biographical and historical substance of the materials. Schwitters later became more apparent of the Constructivist style and began applying the principles within his own designs, having met Van Doesburg and Lissitzky.
Painting, Photography, Film (1925). Design for a double-page spread for the eighth volume in a series of 14 Bauhaus books, edited by Moholy-Nagy and Walter Gropius.
Bauhaus distinct style uses geometric, rigid and balanced forms to create architectural inspired designs. Laslo Moholy Nagy’s influence on this double spread page very much supports the Bauhaus style. His work specifically focuses on photomontage and text, which then later influenced Bauhaus students to begin using these technique in future typographic designs. By incorporating text, photo and montage he used these principles for commercial properties rather than envisioning on creating something new.
Book cover, from the ‘Grundbegriffe der Neuen Gestaltenden Kunst’, 6th in a series of Bauhaus books, published 1925-30 (colour litho).
Private Collection
Founder and leader of the Dutch movement, De Stijl, Theo Van Doesburg adopted the style of combining rectangular forms and vibrant primary colours. Within this, there would be essences of grey, black and white areas. Like many artists of this era, Van Doesburg was influenced with geometric forms; he was also very fond of the idea about purity and simplicity that he detailed it in his Manifesto of Art Concret.
With the sudden appearance of artist movements, Modernism was indefinitely known to bring innovative change to the world. As this new trend of change began, artists and designers believed that the ‘urge to establish the current generation as being different and free from its predecessors’ was going to be their main aim in order to lead Modernism forward. (Eysteinsson and Liska, 2007 p.233) During that era, society issues hugely influenced designs, more commonly inspired by politics and economical factors. They thought that designs that provoked these matters gave the foundation of what the ‘social experience of living in the modern world’ was really like. (Meecham and Sheldon, 2005 …show more content…
p.15)
Having analysed images from different designers and typographers, there was an obvious correlation between all of them –abstract forms.
Using abstract imagery to represent their new style was an extremely difficult and challenging concept; ‘Abstract art had to fight to defend itself against a reactionary world’ seeing as this new form was completely opposite to the previous norm, which was very figurative. (Hammacher, 1964 p.5) However, soon after this controversy, abstract art began to be accepted. ‘Abstraction, the single most important characteristic of the art of this century’ was used and noticed by all designers; it was now that ‘Abstract art was appearing everywhere’. (Barron and Tuchman, 1980 p.12) (Hammacher, 1964 p.5) There was another visual aspect that was just as popular; this was the use of geometric forms. Often designs combined horizontal and vertical lines, shapes (circles, squares, rectangles and triangles) and the orientation was generally simplistic. This too, was a fresh concept as shapes were being used to create and promote messages, as well as enhancing a more bold striking
design.
When discussing the time Modernism began, it was not during the early twentieth century as stated previously, but instead Modernism began earlier than this. It started during mid-nineteenth century but did not gain rapid momentum until late nineteenth century and early twentieth century. Outbreaks of wars, revolutions and rejections of movements took over half of the nineteenth century; so as time travelled closer towards the beginning of the twentieth century as did the Modernist movement travel closer to becoming more subjective to certain artistic styles.
Alongside this, industry was improving, the production of goods and technology was also booming. This was when artists, designers and architects felt it was a necessity to find a new direction for design. They wanted to move away from the old and bring a new perspective in view. Although the term most often referred to art and its traditions being challenged, it was not the only topic that could be associated with Modernism. In fact, Modernism did not only relate to art, but as well it was attempting to modernize culture, society, methodologies, tradition and religion; it was not a movement that limited itself to a certain area or country, but instead ‘Modernism as a World-wide Movement’. (Voll 2010 p.3)
One example that supports the ideology of Modernism is: Beat the Whites with the Red Wedge poster by El Lissitzky. This is because it incorporates many aspects that made Modernism a very strong and influential movement. It uses the features of abstract elements to portray dynamically the political and social issues of that time. Collectively, Lissitzky also successfully presents this in the Constructivist style, with the ideas of a designer, engineer and some architectural components. Not only this, but the placement of the geometric shapes, the mathematical logarithms measured and the technical use of negative space have also been put into consideration, in order to ‘develop a new understanding of time, space and society.’ (Milner, 2009 p.18) Although this image is very politically strong, it could also suggest the idea that the red and white are in conflict. Not only this, but because there are more areas of white, it may influence the idea that the white has more significance than the red. However, once the image and the title have been united, the message of invading the white space with the red is very prominent and obvious.