Term
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Definition
| The first of nearly a dozen new 1890's European art periodicals had a strong influence on a group of young scottish artists who became friends at the Glasgow school of art. |
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Term
| The Glasgow School(The Four) |
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Definition
| a collaboration of four students from the Glsgow school of art (Charles Renni Mackintosh, J. Herbert Mcnair, and Margaret and Frances Macdonald. Developed a unique style of lyirical and symbolic complexity, rectilinear structures symbolic imagry bold simple lines defining flat planes of colors. |
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Term
| Sezessionstil (The Vienna Secession) |
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Definition
| Formed by Gustav Klimt,Joseph Maria Olbrich, Josheph Hoffman, and koloman Moser. Came into being on April 3, 1897 when the younger members of the Kunstlehaus, the viennese creative artists' asociation, resigned in a stormy protest. Became a counter movement to the foral art nouveau and flourished in other parts of Europe. The group's rapid evolution ran from the illustrative allegorical style of symbolist painting to to a french-inspired floral style to the mature style, drew inspiration from the glasgow school. A huge difference from art noubeau is the artists' love of clean, simple, san serif lettering ranging from flat blocky slaps to fluidly calligraphic forms. |
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Term
| Van Sacrum (sacred Spring) |
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Definition
| Designed by the vienna secession and published from 1898 until 1903, this was more a design laboratory than a magazine. It focused on experimentation and graphic excellence and enabled designer to develp innovative graphics as they explored the merging of text, illustration, and ornament into a lively unity. The magazine had an unusual square format and it's covers often combined hand lettering with bold line drawing printed in color on a colored background. |
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Term
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Definition
| A book by walter crane in which he diagramed the evolution toward elemental geometric form and foretold the geometric purity of the Vienna secession and post cubism avant-garde. |
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Term
| Wiener Werkstatte(Vienna Workshops) |
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Definition
| An outgrowth of Sezessionstil, this spiritual continum of William Morris's workshops sought a close union of the fine and applied arts in the design of lamps, fabrics, and similar objects for every day use, including books, greeting cards, and other printed matter. The goal was to offer an alternative to poorly designed, mass-produced articles and trite historicism. Fuction, honesty to materials, and harmonious proportions were important concerns; decoration was used only when it served these goals and did not violate them. |
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Term
| Celebration of Life and art: A consideration of the Theatre as the Highest symbol of a culture |
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Definition
| This booklet by Peter Behrens may represent the first use of sans-serif type as running book text. All capital, sans serif type is also used in an unprecedented way on the title and dedication pages. |
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Term
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Definition
| Designed a family of ten sans serif typeface that were variations on one original font. This akzindenz Grotesk (called standard in the US) type family had a major influence on 20th century typography. |
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Term
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Definition
a typeface designed by the Berthold Foundry and called
Standard in the United States. This typeface permitted compositors to achieve contrast
and emphasis within one family of typefaces |
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Term
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Definition
Peter Behrens’s first typeface, released by the Klingspor
Foundry, was an attempt to reduce any poetic flourish marking the forms, thereby making
them more universal |
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Term
| Deutsche Werkbund (German Association of Craftsmen) |
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Definition
Founded in 1907 in
Munich, this association was created to inspire high-quality design in manufactured goods
and architecture, advocating a marriage of art with technology. It recognized the value of
machines and advocated design as a way to give form and meaning to all machine-made
things, including buildings. Soon after it formed, two factions emerged. One, headed by
Hermann Muthesius, argued for the maximum use of mechanical manufacturing and stan-
dardization of design for industrial efficiency. This group believed form should be deter-
mined solely by function and wanted to eliminate all ornament. Muthesius saw simplicity
and exactness as being both functional demands of machine manufacture and symbolic
aspects of twentieth-century industrial efficiency and power. A union of artists and crafts-
men with industry, he believed, could elevate the functional and aesthetic qualities of mass
production, particularly in low-cost consumer products. The other faction, led by Henry
van de Velde, argued for the primacy of individual artistic expression |
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Term
| Sachlichkeit (loosely translated, “commonsense objectivity”) |
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Definition
a pragmatic
emphasis on technology, manufacturing processes, and function, in which artistic conceits
and questions of style were subordinate to purpose. |
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Term
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Definition
often two or three sequential colors on the color wheel.
Gesamkultur, a new universal culture existing in a totally reformed,
manmade environment. |
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Term
| American architect Frank Lloyd Wright |
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Definition
Saw space as the essence of design,
was an inspiration to European artists
and designers who were moving away
from the curvilinear art nouveau toward a
rectilinear approach to spatial organization.
Another source of inspiration was The
Studio and its reproductions of the work of
Aubrey Beardsley and Jan Toorop, which
influenced a group of young students
who collaborated at the Glasgow School
of Art in the early 1890s: Charles Rennie
Mackintosh, Herbert McNair, and sisters
Margaret and Frances McDonald. “The
Four,” as they were called, innovated a
geometric style that blended floral and
curvilinear elements with strong rectilinear
structure. Their designs were also
distinguished by symbolic imagery, stylized
form, and bold simple lines that defined flat
areas of color. Among their work featured
in this chapter are the 1895 poster for the
Glasgow Institute of the Fine Arts and
the 1896 poster for The Scottish Musical
Review, in which a stylized interpretation
of a human figure towers eight feet above
the viewer. |
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Term
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Definition
The painter who was the guiding spirit of
(and led) the Vienna Secession’s revolt
against the Künstlerhaus. In his first Vienna
Secession exhibition poster, he referred
to Greek mythology, showing Athena,
goddess of the arts, watching Theseus
deliver the deathblow to the Minotaur, a
metaphor for the struggle between the
Secession and the Künstlerhaus. |
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Term
Margaret (1868–1933) and Frances
(1874–1921) Macdonald |
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Definition
Founding members of The Four. These
sisters held strong religious beliefs
and embraced symbolist and mystical
ideas. The confluence of architectural
structure with their world of fantasy and
dreams produced an unprecedented
transcendental style that has been
variously described as feminine, a fairyland
fantasy, and a melancholy disquietude. |
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Term
| Koloman Moser (1868–1918) |
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Definition
An artist-designer who was a key member
of the Vienna Secession. He played a major
role in defining its approach to graphic
design. His poster for the thirteenth Vienna
Secession exhibition is a masterpiece of
the mature phase. This evolution toward
elemental geometric form was diagrammed
by Walter Crane in his book Line and Form.
Moser was appointed to the faculty of the
Vienna School for Applied Art with Joseph
Hoffman, and together they launched the
Wiener Werkstätte (Vienna Workshops)
in 1903. |
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Term
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Definition
Koloman Moser and his fascination with
geometry played a major role in defining
the Secession’s approach to graphic
design. Moser’s poster for the thirteenth
Vienna Secession exhibition and Alfred
Roller’s poster for the fourteenth exhibition,
both from 1902, are outstanding examples
of the geometric patterning and modular
design construction that informed the
design language of the mature phase of
the Vienna Secession. Moser and Josef
Hoffmann, who were both appointed to the
faculty of the Vienna School for the Applied
Arts, launched the Wiener Werkstätte
(Vienna Workshops), the goal of which
was to offer an alternative to the poorly
designed, mass-produced articles and trite
historicism prevalent at the time. Function,
honesty to materials, and harmonious
proportion were important concerns, and
decoration was used only when it served
these goals. |
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Term
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Definition
design. His poster for the thirteenth Vienna
Secession exhibition is a masterpiece of
the mature phase. This evolution toward
elemental geometric form was diagrammed
by Walter Crane in his book Line and Form.
Moser was appointed to the faculty of the
Vienna School for Applied Art with Joseph
Hoffman, and together they launched the
Wiener Werkstätte (Vienna Workshops)
in 1903. |
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Term
| Alfred Roller (1864–1935) |
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Definition
form. A set designer and scene
painter for theater, his principal
work as a graphic designer and
illustrator was for Ver Sacrum and
Secession exhibition posters. |
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Term
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Definition
902 poster for the fourteenth Vienna
Secession exhibition, and his poster for the
sixteenth exhibition, later that same year,
sacrificed legibility in order to achieve an
unprecedented textural density. |
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Term
| Berthold Löffler (1874–1960) |
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Definition
Anticipated later developments with
his reductive symbolic images of thick
contours and simple geometric features.
Figures in his posters and illustrations
became elemental significations rather
than depictions. |
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Term
| Peter Behrens (1868–1940) |
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Definition
The German artist, architect, and designer
who played a major role in charting a
course for design in the first decade of
the new century. He sought typographic
reform, was an early advocate of sans-
serif typography, and used a grid system
to structure space in his design layouts.
He has been called “the first industrial
designer” in recognition of his designs
for such manufactured products as
streetlamps and teapots. His work for the
Allgemeine Elektrizitäts-Gesellschaft, or
AEG, is considered the first comprehensive
visual identification program. He believed
that after architecture, typography provided
“the most characteristic picture of a
period, and the strongest testimonial of the
spiritual progress” and “development of a
people.” His typographic experiments were
a deliberate attempt to express the spirit of
the new era. His twenty-five-page booklet,
Celebration of Life and Art: A Consideration
of the Theater as the Highest Symbol of
a Culture, may represent the first use of
sans-serif type as running book text. He
also designed the Behrensschrift typeface |
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Term
Celebration of Life and Art: A
Consideration of the Theater as the
Highest Symbol of a Culture |
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Definition
This booklet by Peter Behrens may
represent the first use of sans-serif type as
running book text. All-capital, sans-serif
type is also used in an unprecedented way
on the title and dedication pages. |
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Term
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Definition
His work from the beginning of the 1900s
is part of the tentative beginnings of
constructivism in graphic design, where
realistic or even stylized depictions are
replaced by architectural and geometric
structure. He formed the Deutsche
Werkbund (German Association of
Craftsmen) with Hermann Muthesius and
Henri van de Velde, and developed the
Behrens-Antiqua typeface for the exclusive
use of AEG. He also designed industrial
products, including electric household
products such as teakettles and fans, as
well as streetlamps and electric motors |
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Term
| J. L. Mathieu Lauweriks (1864–1932) |
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Definition
A Dutch architect who was fascinated
by geometric form and developed an
approach to teaching design based on
geometric composition. His grids began
with a square circumscribed around a
circle; numerous permutations could be
made by subdividing and duplicating this
basic structure. |
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Term
| Edward Johnston (1872–1944) |
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Definition
The eminent calligrapher commissioned by
Frank Pick to design an exclusive, patented
typeface for the Underground in 1916. He
crafted a sans-serif typeface whose strokes
have consistent weight; however, the letters
have the basic proportions of classical
Roman inscriptions. |
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