P r o f e s s o r   J . M o o r e  

2012

HistoryofGraphicDesignVeronica Todd

JOURNAL 

Date: September 20, 2012 Chapter 9 Graphic Design and Industrial Revolution

Cover of a toy book published in 1874, illustrated and designed by Walter Crane, colored and printed by Edmund Evans Walter Crane (1845–1905), Randolph Caldecott (1846–1886), and Kate Greenaway (1846–1901) are the best known illustrators of late- Victorian toy books, and "did much to develop the sense, the shape, and the look of the modern picture book".[8] Children's illustrated books became fashionable during the Victorian period with an emphasis on the artistic value of the work at a period when the middle and upper classes had funds to spend on books for their offspring. Brightly colored and well-designed toy books in particular became extremely popular

Children Books

Cover of a toy book published in 1874, illustrated and designed by Walter Crane, colored and printed by Edmund Evans

In Boston the aging of image and words During the Victorian period the values of this era was chromo lithography

Germany has a lithography school

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September 20, 2102 Chapter 10 Arts and Craft Movement

Arts and Craft Movement Also known as the Aesthetic Movement

The Green dining room now preserve in the Victoria and Albert Museum in London (1866)

Edward W Godwin concentrated his work on furniture design based on Japanese precedents.

Ethel Red In her short career, Ethel Reed achieved recognition one of the pre-eminent book and poster artists of her period. She was acquainted with many important literary and artistic figures of her time. Ethel Reed was the model for Day's photographs "Chloe" and "The Gainsborough Hat

The Nature of Gothic by John Ruskin, printed by Kelmscott Press. First page of text, with typical ornamented border

Troilus and Criseyde, from the Kelmscott Chaucer. Illustration by Burne-Jones and decorations and typefaces by Morris Wren’s City Churches carried an oddly inappropriate title page – a Mackmurdo woodcut showing sinuously curved leaves, flowers, and lettering in the graphic style that came to be typical of Art Nouveau design.

ITS WONDERFUL TO SHARE HISTORY OF WOMEN

Kelmscott Press

Date: September 27, 2012 Chapter 11Art Nouveau

Red Fuji from Hokusai's series,

Sudden Shower at the Atake Bridge, Hiroshige, 1856

UKIYO-E “picture of the floating world”

Cypress Tree Byōbu, folding screen by Kano Eitoku, 1590 Art Nouveau survived through two decades

Adolf Loss was an architect and designer associated with the Secession for a time, but he became disenchanted with what he regarded as the superficial decorative concerns of that movement. (1870-1933)

Washington DC and Detroit is based on Paris layout

Art Nouveau moved from a private ream to public ream

Art Movement of Japan’s Tokugawa period

Date: October 10, 2012 Chapter 13 The Influence of Modern Art

Futurism influenced many other twentieth-century art movements, including Art Deco, Vorticism, Constructivism, Surrealism and Dada. Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti, and Futurism was, like science fiction, in part overtaken by 'the future'

The cover of the last edition of BLAST, the literary magazine of the British Vorticist movement, a movement heavily influenced by Futurism

Boccioni's The City Rises (1910) represents scenes of construction and manual labor with a huge, rearing red horse in the centre foreground, which workmen struggle to control.

Giacomo Balla, Abstract Speed + Sound, 1913–1914

In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas

The Futurist Manifesto had declared, "We will glorify war — the world's only hygiene — militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas The founder of Futurism and its most influential personality was the Italian writer Filippo Tommaso Marinetti. Marinetti launched the movement in his Futurist Manifesto, which he published for the first time on 5 February 1909 worth dying for, and scorn for woman."

Russian Futurism was a movement of literature and the visual arts The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow. Cubo-Futurism combines the forms of Cubism with the representation of movement. Like their Italian predecessors the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.

Aero painting (aeropittura) was a major expression of the second generation of Futurism beginning in 1926

Date: October 6, 2012 Chapter 14, 2012 Pictorial Modernism "Albert Gleizes is perhaps the only painter of our century to have consciously struggled between the demands of reason and faith, in a reasonable—indeed a brilliant—manner and finally to have come down on the side of faith. Like Pascal it is possible to regard him as an apologist for intellectual orthodoxy but it is also possible to regard him as a lucid sceptic who consistently demonstrated that no firm decisions are possible in any area of human activity. He was a metaphysician in an age that wanted not only to reject metaphysics but to deny the relevance of its unanswerable questions. For Gleizes, such a denial was equivalent to denying the grandeur of Man. His life ended in 1953 but his paintings remain to testify to his willingness to struggle for final answers. His is an abstract art of deep significance and meaning, paradoxically human even in his very search for absolute order and truth." (Daniel Robbins, 1964) Post cubism Albert Gleizes, 1915, Composition, For "Jazz", Pour "Jazz", oil on board, 73 x 73 cm. In a photograph first published in the Xeic York Herald, later reprinted in The Literary Digest, 27 October 1915, Gleizes can be seen at work on this painting.

Albert Gleizes, 1911, Le Chemin, Paysage à Meudon, Paysage avec personnage, oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, 1911, Salon des Indépendants, Bruxelles, 1911, Galeria J. Dalmau, Barcelona, 1912, Galerie La Boétie, Salon de La Section d'Or, 1912, stolen by Nazi occupiers from the home of collector Alphonse Kann during World War Two, returned to its rightful owners in 1997

October 16, 2012 Chapter 15 Piet Mondrian, Composition with Yellow, Blue, and Red, 1937–42, A New Language of Form Pieter Cornelis "Piet" Mondrian, after 1906 Mondrian (Dutch pronunciation March 7, 1872 – February 1, 1944), was a Dutch painter. He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism. This consisted of white ground, upon which was painted a grid of vertical and horizontal black lines and the three primary colors.[1] Between his 1905 painting, The River Amstel, and his 1907 Amaryllis, Mondrian changed the spelling of his signature from Mondrian to Mondrian During the period between the wars, Braque exhibited a freer style of Cubism, intensifying his color use and a looser rendering of objects. However, he still remained committed to the cubist method of simultaneous perspective and fragmentation. In contrast to Picasso, who continuously reinvented his style of painting, producing both representational and cubist images, and incorporating surrealist ideas into his work, Braque continued in the Cubist style, producing luminous, other-worldly still life and figure compositions. By the time of his death in 1963, he was regarded as one of the elder statesmen of the School of Paris, and of modern art.

Piet Mondrian, Composition II in Red, Blue, and Yellow, 1930

Gray Tree, 1912, an early experimentation with Cubism Gray Tree, 1912,