Untitled Flashcards Set

• Modern Art Movements (4)

  • Expressionism Groups

• Vienna Secession

  • Goals & Influence

  • Ver Sacrum

    • The design laboratory, 1898-1903, experimental type, illustration, and layout. Square format, ample white space, and intricate printing techniques 

  • Künstlerhaus

• AEG

  • Allgemeine Elektrizitats-Gesellschaft, AEG was the first company to hv a corporate identity program with a logo typeface and standardized layouts designed by Berhrens (compay produced street lamps, kettles, and arc lamps. 

• The London Underground

• The Glasgow School 

  • People

    • Charles rennie mackintosh, j herbert mcnair, margaret and frances MacDonald

  • Goals & Influences

    • Introduced vertical emphasis and abstract human figures 

• Deutsche Werkbund

• Collage

• Photomontage

• Plakatstil

  • Sachplakat

• Propaganda

  • WWI: Allies, Central Powers

  • Spanish Civil War

• Art Deco

Key Figures & Their Contributions

• Frank Lloyd Wright

  • Designed buildings, furniture, graphics, and stained glass (waterfall house) 

• Peter Behrens

  • New Objectivity, pivotal figure. Influenced industrial design, architecture, and type. Advocation for type reform, influenced geometric sans-serif type. Designed the first corporate identity system (AEG) 

• Kurt Schwitters

• Francis Brugiére

• Lucian Bernhard

• The Beggarstaffs

• Edward McKnight Kauffers

Image Identification List

You’ll need to know name, title, and date (year)

• 12-4, Scottish Musical Review poster, Charles Mackintosh

  • 1896

• 12-9, First Vienna Secession Exhibition Poster, Gustav Klimt

• 12-34, AEG logo, Peter Behrens

• 13-3, Man with Violin, Pablo Picasso

• 13-23, Cover for Depero Futurista, Fortunato Depero

• 14-8, Priester matches poster, Lucian Bernhard

• 14-29, “Briton Wants You,” Alfred Leete

Essay Questions

1. What were the key goals and aesthetic principles of the Vienna Secession?

Vienna Secession was inspired by the glasgow school and was a direct response to the conservative Kunstlerhaus policies. There was three stages of design aesthetic within the Vienna Seccesion, the first focusing on allegorical symbolism, then a transition ito french-inspired floral styles, and finally moving into geometric simplicity with a focus on clean sans-serif typography. 

Chelsey’s Key points:  

Formed in 1897 as a reaction against traditionalism (Kunstlerhaus) in Vienna. Sought to integrate contemporary artistic movements from other european countries in arustrian design. 

1. Rejected the floral excess of art nouveau in favor of flat geometric shapes and simplified forms. 

2. Ephasized clean typography, particularly sans-serif lettering in graphic design. 

3. Published Ver Sacrum- experimented with type, layout, and illustration. 

4. Promoted a modern aesthetic that influenced later movements like art deco and bauhaus. 

2. In what ways did Frank Pick revolutionize public transportation design in London?

It was the first underground electric railway. Controlled publicity of UER (undergroung electric railways) in 1908. Developed structural advertising and signage. Posters focused on destinations over transportation, encouraged off-peak travel to leisure spots, features diverse artistic styles. Pic als commissond the Johnston typefae to improve type. He redesigned station signage using that typeface and introduced the iconic circle and blue bar, which was updated in 1972 but is essentially the same design he made.

Chelsey’s Key points:

1. Introduced systematic visual identity for the london underground

2. Standaridized signage by creating a red circle with a blue bar for station names, ensuring high visibility

3. Commissioned edward johnston to design an exclusive sans-serif typeface (johnston sans in 1916)

4. Promoted destination-focused advertising that encouraged off-peak travel for leisure and culture

5. Expanded his design influence to include architecture, ensuring station layout were both functional and aesthetically pleasing 

6. Set a precedent for corporate branding in public transportation that remains influential today. 

3. Explain the role of Futurism in typography and visual communication.

Chelsey’s Key points:

1. Rejected harmony and embraced expressive, dynamic compositions (crazy type layout for poems, interactive type)

2. Used varied typeaces, cors, and orientation to mimic movement and enery

3. Significantly influenced modern advertising, editorial layouts and avant-garde design

4. Compare or contrast the poster propaganda strategies of the Central Powers and the Allies during World War I. Discuss one specific piece from your text for both sides.

Chelsey’s Key points:

1. Central powers (germany and austria-hungary) used minimalist (plakatstil) approach and symbolic posters with bold graphic shapes (dragon poster)

2. Allies created posters that focused on emotional and patriotic appleals by using more literal and illustrative depictions

3. E.g. “your country needs you” “uncle sam wants you” etc. (point out how both relate to each sides strategies