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The beginning of the 0th century was a period that saw unprecedented change. With dynamic change occurring all over the world through rapid industrialisation, and rivalry between states there came a growing tension in western countries, culminating with WW1.
Artists began looking for an art for the century, one that reflected these changes. In addition, the psychoanalytic investigations of Sigmund Freud expanded our understanding of the mysteries of the human mind and prompted artists, writers and poets to gaze more inwardly. This decade was about breaking down all accepted conventions that were characteristic of the centuries past.
Art Nouveau from the previous century was a major influence on the way designers created. It inspired the invention of new forms rather than replicating the forms of the past. However, with the birth of the Vienna Secession in 187, lead by Gustav Klimt, a new appreciation for clean and geometric design became popular.
Deutsche Werkbund
The Werkbund was a union of artists, architects, and designers in 107 Germany who took into consideration the current processes of industrial production. The group's leaders included Hermann Muthesis, Peter Behrens, and Henry Van de Velde. They were influenced by the Arts and Crafts Movement of the preceding century. The Werkbund was concerned with marrying technology and design. They believed that they could make everything in the new world more beautiful through design. Two groups emerged from this movement. One felt that form should follow function; the other believed that objects could be functional and aesthetically pleasing. Behrens attempted to bridge this gap by the complete designing of the company Allgemeine Elektrizitats Gesellschaft (A.E.G.). He was the first designer to apply similar designs to all of a company's products. He designed everything for A.E.G. from household products such as teapots to electric motors.
Cubism
With Sigmund Freud's publishing of the "Interpretation of Dreams," contemporary attitudes and values were changed. Freud emphasised the importance of understanding the instinctual side of human nature. These ideas were reinforced when Pablo Picasso applied elements of ancient Iberian and Africa tribal art to the human figure in the mid to early 100's. It became a method of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail. The Cubist style rejected traditional techniques of the Renaissance.
French painter Paul Cezanne was widely known as a
cubist and a master of this technique. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously. Picasso and another contemporary artist Georges Braque evolved cubism into a form called Analytical Cubism. This variation involved an emphasis on colours, textures and shapes. Again cubism evolved into synthetic cubism where forms were abstracted even further.
Futurism
Like most movements of this decade, literature sparked the minds of artists. Italian poet Filippo Marinetti published his "Manifesto of Futurism" in 10, in which he describes an "enthusiasm for war, the machine age, speed and modern life." (Meggs 5) Once again, it was a rebellion against the "spineless worshipping of old canvases, old statues and old bric-a-brac, against everything which is filthy and worm-ridden and corroded by time." (Scarborough)
On a page of poetry, the typography would take on a musical character. Contrasting typefaces, unique and unheard of layouts were all used to spark the emotions of the reader. The artists involved in this movement were Umberto Bocconi, Carlo Carra, Luigi Russolo, Giacomo Balla and Gino Severini. Futurism forced designers to "rethink the very nature of the typographic word and its meaning." (Meggs 8)
Dada
Dada came about as an objection to the current war, and as a result, inspired innovation and rebellion. The key word in this movement was shock and nonsense, and in some cases, mocking. In general, dada strove to recontextualize the everyday into different meanings. For example, Marcel Duchamp, a French painter, would take a somewhat offensive or ridiculous object and simply sign his name on it. (think urinal masterpiece, Fountain). Artists such as Raoul Hausmann, John Heartfield, and Kurt Schwitters used collage to explore new levels of wackiness. One of Dada's most prominent literary leaders was poet Tristan Tzara. He once remarked, Like everything in life, dada is useless". But of course, dada design was not entirely functionless; while dada burned out by the early 10s, its design innovations have been relevant ever since.
Surrealism
Surrealism grew principally out of the earlier Dada movement with less importance on shock value. Surrealist artists such as Salvador Dali were searching for the "more real than real world behind the real," suggesting Freud's beliefs that the unconscious was the key to human behavior. Andre Breton, poet and critic and the major spokesman of the movement, published The Surrealist Manifesto. In it he describes surrealism as a means of "reuniting conscious and unconscious realms of experience" (Pioch) so completely that the world of dream and fantasy would be joined to the everyday rational world in an absolute reality, a surreality.(Honour and Fleming 804) Drawing heavily on theories adapted from Freud, Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike.
Expressionism
Emerging from Germany before World War 1, expressionism can be described as a form of art that aimed to reflect the artistss state of mind rather than the reality of the external world. Colour, line, brushwork and shape were often manipulated to intensify emotions and symbolism. Expressionists in Germany felt uneasy about the war and rebelled againt the harsh authority of the military. German expressionists formed two groups Die Brucke and Der Blaue Reiter. Die Brucke emphasized emotional force, their paintings included distorted forms, and they were typically bright.
They contain loose brushstrokes that stylize facial features, body shapes, and gestures. In 111, Kandinsky, Paul Klee, Franz Marc, and August Macke established Der Blaue Reiter striving toward "absolute abstraction." They shared the belief that colour and form could communicate the soul of the artist to the viewer. Shapes, colours, lines, and patterns all have psychological effects, and artists can compose these elements as a composer might use tone and melody. Like most movements of the decade, expressionism strived to comment on the human condition with emphasis on social and political themes.
Suprematism & Constructivism
Suprematism began in Russia c.11 and was based around artist Kasimir Malevich. Malevich built up pictures from geometric shapes without reference to observed reality, producing an art that expressed only pure aesthetic feeling rather than with a connection to anything social, political or otherwise.
El Lissitsky was a leading figure in the constructivist group. He believed that he could bridge the gap between art and technology; he felt that technology was the determining factor in artistic perception and creation. What was initiated was a totally new way to approach visual art by creating geometric, non-objective art in a two dimensional form. The groundwork laid by suprematism and constructivism continues to be an approach favoured by many artists today.
De Stijl
In 117 Holland, Theo van Doesburg formed a new design group that he called De Stijl, or, "the style." This was a group of artists, designers, architects who took influences from painters. The De Stijl designers worked in a geometric, abstract style and sought to achieve harmony and equilibrium achieved by the balance of verticals and horizontals. One of the group's most prominent designers was Piet Mondrian. Mondrian along with other De Stijl group members eliminated any representational elements from his designs and chose to use primary blocks of colour to express the mathematical structure of the universe. As in the example of Gerrit Rievveld's "Interior of the Schroder House" (Woodham 7), the aesthetic principles of this movement could be applied to architecture as well.
If we look at the chaotic state of society in Holland at the time, during the First World War, we can understand that the people wanted peace, rest and harmony again. The members of De Stijl tried to reflect in their work what in the society wanted to achieve, an ideal harmony.
The Bauhaus
After the war in Germany, artists and designers alike thought that they could help to bring about new social conditions through the creation of a new visual environment. In 11 Walter Gropius opened a school of design he named Das Staatliches Bauhaus. His theory was that artistically trained designers could "breathe soul into the dead product of the machine." (Honour and Fleming 85) Gropius wanted to rid the design world of historicism and unify art, handwork and industry. Because the structure of Bauhaus student education was unlike any school before, it has influenced the way design students are taught to this day. The Bauhaus was one of the most influential architecture and design schools of the 0th century.
The beginning of the twentieth century was characterized by a revolt against artistic traditions going back to the early fourteenth century. Never before had artists dared to be so adventurous and daring. The designers and artists had to deal with the new innovations in science and technology, and somehow apply it to the construction of their creations. Things were changing; the world was in a transition. They needed a new style for the new century and to define themselves as modern people. Because of the innovations of these extraordinary people, we as designers today have a strong groundwork on which we can base our own designs. Thank you.
Bibliography
Online Sources
1. Scarborough, Kim. "The Manifesto of the Futurist Painters."
http//www.unknown.nu/futurism, June 14, 00.
. Pioch, Nicolas. "Surrealism."
http//www.ibiblio.org/wm/paint/glo/surrealism, Oct.14, 00
. A Sarphy Production. "The Style."
http//www.the-artfile.com/uk/styles/stijl, March 6, 00
Other Sources
4. Honour, Hugh and John Fleming. The Visual Arts A History.
New Jersey Prentice Hall Inc, 000.
5. Meggs, Phillip B. A History of Graphic Design.
Canada John Wiley & Sons, Inc., 18.
6. Tesch, Jurgen and Eckhard Hollmann. Icons of Art. The 0th Century.
New York Prestel-Verlag, 17.
7. Hauffe, Thomas. Design. An illustrated historical overview.
New York Barron's Educational Series, Inc., 16.
8. Harrison, C. Primitivism, Cubism, Abstraction The Early Twentieth Century.
London New Haven, 1.
. Woodham, Jonathan M. Twentieth-Century Design.
New York Oxford University Press, 17.
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