Summary 4

CHAPTER 12: THE GENESIS OF THE 20^TH CENTURY DESIGN:

·         Pinnacle moment. Perfection of processes.

·         Century invites introspection. One tends to look within themselves as opposed to the outside.

·         Conventional wisdom questioned by artists and writers. Also search for new possibilities for changing the circumstances of culture.

·         End of 18^th century: birth of new category of typeface design=modern style.

·         200 yrs. later: Neoclassical revival of Greco-Roman forms in architecture, clothing, painting, and illustration replaced Baroque and Rococo design.

·         20^TH century: designers from disciplines of architectural, fashion, graphic and product design in search of new forms of expression.

·         New design vocabulary of Art Nouveau challenged conventions of Victorian design.

·         Art Nouveau proved inventing new forms, instead of copying from nature/historical models= viable approach.

·         Potential of abstract and reductive drawing and design was explored by designers in Austria, Germany and Scotland. They moved away from the Serpentine beauty of Organic drawing as aesthetic philosophy was sought to address the changing conditions: social, economic and cultural.

FRANK LLOYD WRIGHT AND THE GLASGOW SCHOOL:

·         FRANK LLYOD WRIGHT :( 1867-1959).

·         Curvilinear Art Nouveau to Rectilinear approach to spatial organization.

·         Rejected historicism in favour of philosophy of organic architecture with reality of building which existed not in design of façade but in dynamic interior spaces which was where people lived and worked.

·         Organic design had entity= the part is to the whole as the whole is to the part.

·         Space= essence of design.

·         Repetition of rectangular zones, use of asymmetrical spatial organization was adopted by other designers. His border designs were executed in fragile freehand line describing lacy pattern of stylized plant forms.

·         CHARLES RENNIE MACKINTOSH (1868- 1928) : abstract interpretations of human figure.

·         J. HERBERT MCNAIR (1868- 1955): rising verticality and integration of flowing curves with rectangular structure= hallmarks of mature work.

·         SISTERS:

·         MARGARET (1865- 1933) AND FRANCES MACDONALD (1874- 1921): strong religious beliefs, embraced symbolist and mystical ideas. Unprecedented transcendental style: feminine, fairyland fantasy and melancholy disquietude.

·         MCNAIR MARRIED FRANCES AND MACKINTOSH MARRIED MARGARET.

·         =THE FOUR = GLASGOW SCHOOL.

·         Unique style of lyrical originality and symbolic complexity, symbolic imagery, stylized form. Bold, simple lines define flat planes of colour.

·         Geometric style of composition by tempering floral and curvilinear elements with strong rectilinear structure.

·         JESSIE MARION KING (1876- 1911): inspired by the four, medieval-style fantasy illustrations accompanied by stylized lettering. Grace, fluidity, romantic overtones influenced fiction illustration during 20^th century.

·         TALWIN MORRIS (1865- 1911) : Art director of Glasgow Publishing.

THE VIENNA SUCCESSION:

·         Like Glasgow School, was countermovement of floral art nouveau, flourished in parts of Europe.

·         Austria, Sezessionstil= Vienna Secession. 3 April 1897.

·         Younger members of Kunstlerhaus, Viennese Creative Artists Association resigned in a stormy protest. Refusal to allow foreign artists to take part in Kunstlerhaus exhibitions. Clash between tradition and new ideas from France, England and Germany was at conflict.

·         PAINTER: GUSTAV KLIMT (1862-1918) led the revolt.

·         ARCHITECTS: JOSEPH MARIA OLBRICH (1867-1908), JOSEF HOFFMANN (1870-1956) AND ARTIST-DESIGNER, KOLOMAN MOSER (1868-1918): major role in defining approach to graphic design. = KEYLINE MEMEBERS.

·         Benchmark posters for VS exhibitions showed groups rapid evolution from illustrative allegorical style of symbolist painting to French inspired floral style.

·         Inspiration came from Glasgow School.

·         KLIMT: Greek mythology.

·         Ver Sacrum: Sacred spring.

·         ADOLF LOOS (1870- 1933). FAMOUS ARTICLE: POTEMKIN CITY- BY POLEMIC AUSTRIAN ARCHITECT. Organic was not curvilinear but use of human needs as standard for measuring utilitarian form.  And simple geometric features.

·         ALFRED ROLLER (1864- 1935) masterly control of complex line, tone and form.

·         BERTHOLD LOFFLER (1874- 1960): Reductive symbolic imagesof thick contours

PETER BEHRENS AND THE NEW OBJECTIVITY:

·         German Artist, Architect, Designer: PETER BEHRENS= 1^st INDUSTRIAL DESIGNER. Played major role in charting a course for design in the 1^st decade of the new century. He pursued typographic reform, was an early advocate of san-serif typography and used grid-system to structure space in design layouts. He did designs for manufactured products: streetlamps, arc lamps and teapots. Worked at AEG (Allgemeine Elektrizitats-Gesellschaft) = first comprehensive visual identification program. Peter did architectural buildings which pioneered non-load-bearing glass curtain walls spanning spaces between support girders. He used square formats, ratios such as 1 square wide, by 1.5 or 2 squares high.

·         Studied in Hamburg, moved to Munich, Renaissance in German Arts and Crafts began. His paintings: of poor and industrial landscapes.

·         Abandoned social realism and embraced 1890s German Jugendstil Movement.

·         1900: Grand Duke of Hessen established Darmstadt artists’ colony, to encourage cultural and economic growth in light manufacturing: furniture, ceramics.

·         Colony’s 7 artists: including Behrens and Vienna Secession Architect, Olbrich.  Applied arts experience.

·         He designed his own house and furnishings, furniture, cutlery and china= total design.

·         Relationship of art, design forms to social, technical, and cultural conditions.

·         BERTHOLD FOUNDRY: 10 SAN SERIFS. AKZIDENS GROTEK= Standard.  Remarkable harmony and clarity. Inspired by san-serif typefaces of post-WORLD WAR II era.

·         BEHRENS 1^ST TYPEFACE = BEHRENSCHRIFT - 1901. Reduction of any poetic flourish marking forms and to make them more universal.

·         DUTCH ARCHITECT J.L. MATHIEU LAUWERIKS (1864- 1932). Geometric form, grids= square circumscribed around circle, numerous permutations made by subdividing and duplicating basic structure. Behrens was influenced and inspired by him.

·         1907: founding of DEUTSCHE WERKBUND (German Association of Craftsmen). ADVOCATED A MARRIAGE OF ART WITH TECHNOLOGY.

·         Groups leaders: HERMANN MUTHESIUS, HENRY VAN DE VELDE, AND BEHRENS= INFLUENCED BY WILLIAM MORRIS.

·         Behrens typeface for AEG =Behrens-Antiqua.

·         PETER BEHRENS DESIGNS FOR TEAKETTLES: 3 basic kettle forms, 2 lids, 2 handles and 2 bases. 3 materials: brass, copperplate and nickel-plate. 3 finishes: smooth, hammered and rippled.

DESIGN FOR THE LONDON UNDERGROUND:

·         1890: world’s first underground electric railway system opened.

·         FRANK PICK (1878-1941) vision to lead underground group for innovative publicity and design.

·         Underground station signs: 1908- solid red disk with blue bar across middle bearing the station’s name which was in white san-serif letters.

·         Bright and simple designs stood out against urban clutter.

·         Posters were eclectic and wide-ranging.

·         Focus = destination rather than transportation.

·         Bus, street-car, and subways were obtainable as the heartbeat of the city provided access to movies, museums, sports and shops.

·         PICK: personal responsibility to select artists and approve designs.

·         Posters for underground ranged in style from lyrical romanticism to beginnings of mass-media modernism. Design advocacy included signage, station architecture and product design. Also train and bus design. Station platforms and coach interiors= human use and design aesthetics.

·         EDWARD JOHNSTON (1872-1944), calligrapher was chosen to design exclusive and patented typeface in 1916. Designed new version of station signage and logo by using his typeface on blue bar in front of red circle instead of solid disk.

·         Typeface was to have bold simplicity shown by distinctive letters from preceding epochs.

·         San-serif typeface: strokes have consistent weight. Letters have basic proportions of classical roman inscriptions.  Functional clarity, simplest forms: M = perfect square, 45 degree diagonal strokes meet in exact centre of letter, O= perfect circle. All letters have similar elemental design. Lower case l= has tail to avoid confusion with capital I.

·         Late 19^th and early 20^th century: Designers in Austria, Germany and Scotland broke with Art Nouveau to chart new directions in response to personal and societal needs.

·         Concern for spatial relationships, inventive form and functionality formed groundwork for design.

Summary 3

CHAPTER 11: ART NOUVEAU:

·         Late 19^th century: Increased trade and communication between Asian and European countries= cultural collision.

·         East and West experienced change = reciprocal influences.

·         Asian art provided European and North American Artists and designers with new approaches: space, colour, drawing conventions and subject matter which were different to Western traditions.

·         19^th century: Revitalization of graphic design during last decade.

THE INFLUENCE OF UKIYO-E:

·         Ukiyo-e= pictures of the floating world.

·         Art movement of Japan’s Tokugawa period. (1603-1867).

·         Economic expansion, internal stability, and a time to flourish cultural arts.

·         Shogun= samurai code of ethics, or the military governor whose power exceeded emperor’s. 3 decrees were handed out in 1630s. Foreigners were not included. The official policy of national seclusion was put in place.

·         The Japanese people were not allowed to travel overseas or to return from abroad.

·         There were restrictions on foreign trade: approval for Dutch and Chinese traders at Nagasaki Airport.

·         Ukiyo-e blended realistic narratives, emaki= traditional picture scrolls.

·         Influences from decorative arts.

·         Earliest Ukiyo-e works = screen paintings: entertainment districts, the floating world of EDO= Modern Tokyo, including other cities.

·         Scenes and actors from Kabuki theatrical plays, renowned courtesans, prostitutes and erotica= early subjects.

·         UKIYO-E ARTIST: WOODBLOCK PRINT: HISHIKAWA MORONOBU   (1618-94). First master of Ukiyo-e print.  He first started doing designs for embroidery.  Middle of 17^th century: became book illustrator. He used Chinese woodcut techniques. His work included the everyday life of the ordinary people, crowds on streets and peddlers. Urban life.

·         Japanese woodblock prints: careful collaboration between publisher, artist, block cutter and printer.

·         Publisher financed production of print and coordinated work of the 3 other partners.

·         Artist supplied separate drawing for each colour. Drawings were to be pasted onto the woodblocks. The negative / white areas were cut away and the original was destroyed in process.

·         After all bocks were cut, printing could begin.

·         Water based inks and subtle blends were used. Great skill and speed by printers was needed.

·         OKUMURA MASANOBU (1686-1764): Moved from hand-colouring single- colour woodcuts to 2- colour printing.

·         SUZUKI HARUNOBU (C. 1725-70): Full- colour prints from a lot of blocks. Every block was printed in different colours. 1765.

·         KITAGAWA UTAMARO (c. 1753- 1806). Unrivaled artist. Portraying beautiful women. The supreme poet. He had observation from nature and human expression which had outcomes of prints of insects, birds, flowers and women possessing great beauty and tenderness.  He conveyed his subject’s feelings which were from observation of physical expressions, gestures and emotional states. Warm yellow and tan backgrounds emphasized delicate and lighter toned skin.

·         KATSUSHIKA HOKUSAI (1760- 1849): RENOWNED AND PROLIFIC UKIYO-E ARTIST. THE OLD MAN MAD WITH PAINTING. He made about 35000 works during 7 decades. Album prints , genre scenes , historical events, illustrations for novels, landscape series, views of rivers, mountains, waterfalls, bridges, nature studies of flowers, birds, shells and fish, paintings on silk, sketchbooks and privately commissioned prints for special occasions= SURIMONO. Yellow-backs, cheap novelettes, named for the colour of the covers. HOKUSAI GASHIKI: Hokusai’s drawing style. HOKUSAI SOGA: Hokusai’s rough sketches. 1820. Made in black and white and three colours. Kinetic rhythm of book, scale, density, texture and dramatic action which achieved dynamic sequence of visuals.  Single – leaf polychrome prints = summit of ukiyo-e art. Mount Fuji: very special in the Japanese culture, sun worshipers, and volcano. Depict external appearances of nature and they symbolically interpret vital energy forces found in sea, wind, clouds.

·         ANDO HIROSHIGE (1797- 1858): Last great master of Japanese woodcut. He was an inspiration to European impressionists/ brilliant spatial composition and captured transient moments of landscape. He also observed and captured poetic splendour of nature but related it to lives of ordinary people.

·         JAPONISME: late 19^th century Western Mania for all things Japanese.

·         Ukiyo-e practitioners = mere artisans. They captured European artists. They drew inspiration from calligraphic line drawing, abstraction and simplification of natural appearances. Flat colour, silhouettes, unconventional use of bold black shapes, decorative patterns. Subjects became emblematic symbols, reduced to graphic interpretations conveying essence. Landscape and interior environments frequently presented as suggestive impressions and not detailed depictions.

ART NOUVEAU:

·         Art nouveau = international decorative style.

·          Thrived during 2 decades. (c. 1890- 1910).

·         Encompassed design arts: architecture, furniture, product design, fashion, graphics, embraced posters, packages and advertisements, teapots, dishes, spoons, chairs, door frames, staircases, factories, subway entrances and houses.

·         Visual quality= organic, plant like line.

·         Freed from roots and gravity, can undulate with whiplash energy or flow with elegant grace and define, modulate and decorate space.

·         Vine tendrils, flowers, roses and lily, birds, peacocks, and human female form = frequent motifs that fluid line adapted.

·          SAMUEL BING: Paris gallery. Opened in 1895. Salon de I’ Art Nouveau. Japanese art, new art by Europeans and Americans.

·         NIKOLAUS PEVSNER: book Pioneers of Modern Design, 1936, 1949, 1960. This was the 1^st to give art nouveau significant position in development of 20^th century art and architecture.

·         Art nouveau = transitional style evolved from historicism and dominated design, most of 19^th century.

·         Seminal genius of movement = BELGIAN ARCHITECT, BARON VICTOR HORTA (1861- 1947). 1892, townhouse for Emile Tassel was unified by tendrilious curvilinear networks.

·         FRENCH SYMBOLIST MOVEMENT IN LITERATURE: 1880S AND 1890S. Rejection of realism. Favour of metaphysical and sensuous.

·         Spiritual rejuvenation: birth, life, growth, death and decay= symbolic subject matter.

·         WILLIAM BLAKE: book of illustration, Celtic ornament, rococo style, arts and crafts movement, pre-Raphaelite painting, Japanese decorative design, and ukiyo-e woodblock prints.

·         VINCENT VAN GOGH (1853- 90): swirling forms.

·         PAUL GAUGUIN (1848 – 1903): Flat colour and stylized organic contour.

·         Work of Nabis Group: young artists.

·         Nabis: explored symbolic colour, decorative patterns and concluded that a painting was an arrangement of colour in 2D patterns.

CHERET AND GRASSET:

·         Transition from Victorian graphics, gothic, architecture etc. to art nouveau style was gradual one.

·         Two artists worked in Paris.

·         JULES CHERET (1836- 1933): Father of modern poster. Son of indigent typesetter. he was convinced that pictorial lithographic posters would replace typographic letterpress posters that filled urban environment.  At 22, he made poster Orphee aux Enfers = Orpheus in Hades. Blue and brown poster. He masters the more English colour lithography. Monochromatic design for theatrical production la biche au bois = the doe in the woods , which starred Sarah Berhardt. His influences: idealized beauty and carefree lifestyle painted by Watteau and Fragonard, luminous colour of Turner, winding movement of Tiepolo whose figures expressed energy and movement through twisting torsos and extended limbs. He worked directly on stone. 1880s: he used black line with primary collars (red, yellow and blue), graphic vitality with bright colours. Subtle over printing, stipple and crosshatch, soft water- colour like washes, bold calligraphic chunks of colour, scratching, scraping and splattering. Central figure/s in animated gesture, surrounded by swirls of colour, secondary figures or props, bold lettering, echoes shapes and gestures of figure. He did production for music halls, theatre, beverages and medicine, household products, entertainers and publications. He created beautiful young women, archetypes, for a generation of French women who used dress and apparent lifestyle as inspiration.

·         EUGENE GRASSET (1841- 1917): Swiss born. First illustrator/designer to rival Cheret in public popularity. His influences were medieval art, exotic oriental art, reflected in his designs for furniture, stained glass textiles and books. 1883: histoire des quatre fils Amyon ( History of four young men and Amyon). It was printed in aquatint- grain/ colour- photo relief process from plates made by CHARLES GILLOT.  Grasset was known for his illustrations. Format and typography was also very important. Spatial segmentation in page layout. Illustrations were integrated with text into a unit, typography was printed over skies. Colouring book style: thick black contour drawing, locking forms into flat areas of colour, similar to medieval stained – glass windows. Figures echo Botticelli, wear medieval clothing, stylized, flat cloud patterns reflect knowledge of Japanese woodblocks. Formal composition, muted colour. Flowing line, subjective colour, ever present flora motifs pointed toward French Art Nouveau.  Oeuvre included wallpaper and fabric design, stained glass windows, typefaces and printed ornaments.

·         1881: French law concerning freedom of the press lifted many censorship restrictions. Allowed posters anywhere except on churches, at polls, or areas designated for official notices.  Booming poster industry employed designers, printers and afficheaurs.

·         Streets became art gallery.

ENGLISH ART NOUVEAU:

·         Primarily concerned with graphic design and illustration rather than architectural and product design.

·         Sources were: gothic art, and Victorian painting.

·         AUBREY BEARDSLEY (1872- 98). Enfant terrible of art nouveau. Striking pen line, vibrant black and white work, shockingly exotic imagery and strange cult figure.

·         The black spot= compositions based on dominant black form.

·         Celebration of evil. Flat patterns and dynamic curves yielded to naturalistic tonal quality and dotted contours softened decisive line.

·         WALTER CRANE (Early innovator in application of Japanese ornamental pattern and eastern interpretations of nature to design of surface pattern, furniture and textiles for Liberty and Company store.

·         CHARLES SHANNON (1863- 1931)

·         CHARLES RICKETTS: wood engraver, compositor, print production. Book = total entity, harmony of parts, binding, end sheets, title page, typography, ornaments and illustrations (frequently commissioned from Shannon). Page layouts = lighter. Ornaments and bindings= open and geometric. Designs have vivid luminosity. Complex, intertwining ornament of Celtic design, flat stylized figures painted on Greek vases which he studied in British Museum = major inspirations.

·         Vale Press Books.

THE FURTHER DEVELOPMENT OF FRENCH ART NOUVEAU:

·         1880s GRASSET was a regular at Rodolphe Salis’s Le Chat Noir nightclub= gathering place for artists and writers in 1881. He shared enthusiasm for colour printing with others.

·         GEORGES ARIOL (1863- 1939)

·         HENRI DE TOULOUSE- LAUTREC (1864- 1901) : Poster design of dynamic pattern, flat planes, black spectator’s silhouettes, yellow ovals for lamps, stark white undergarments, notorious cancan dancer, performed with transparent/ slit underwear, move horizontally across centre of poster. In front of profile of dancer, Valentine, the boneless one = flexibility.  Simplified symbolic shapes and dynamic spatial relationships form expressive and communicative images.  Master in Draftsmen, printmaker and painter.  Japanese art, impressionism, Degas’s design, contour, Paris cabarets, bordellos, watching, drawing and developing journalistic illustrative style captured night life of la belle époque (the beautiful era). = glittering late 19^th century Paris. Splatter technique, tonal effects, drew directly on lithographic stone and often worked from memory.

·         SWISS ARTIST THEOPHILE- ALEXANDRE STEINLEN (1859- 1923): cat drawings, prolific illustrator, 1880’s and 1890s, radical political views, socialist affiliations, and anticlerical stance, social realism depicting poverty, exploitation and working class. Black and white lithographs colour printed by stencil process. Magazine covers, interior illustrations, music covers, illustration assignments, and large posters.

·         CZECH ARTIST ALPHONSE MUCHA: (1860- 1939). Remarkable drawing ability.  He used Grasset’s poster for Bernhardt in Joan of arc, he elongated Grasset’s format, used Byzantine-inspired mosaics as background motifs. Bottom of poster was unfinished.  Central female fih=gure, surrounded by stylized forms, plants and flowers, Moravian Folk Art, Byzantine Mosaics, magic and the occult. Archetypal sense of reality= women. Exotic, sensuous, maiden like, they don’t express age or nationality or historical period. New art = Jugendstil. Jugend= youth.  Comic book illustration. Designed furniture, carpets, tained glass windows, and manufactured objects. Pattern books : combinaisons ornementales (ornamental combinations) made in collaboration with : MAURICE VERNEUIL (1869 -1934) AND GEORGES AURIOL        (1863- c. 1938). This spread art nouveau.

·         Numerous Dutch books provided instructive patterns in art nouveau styles.

·         Resource in France: light and fanciful flowing curves 18^th century, French rococo.

·         SAMUEL BING opened up gallery.

·         HENRI CLEMENS VAN DE VELDE (1863- 1957): design interiors and exhibited painting, sculpture, glasswork, jewellery and posters by international artists.

·         EMMANUAL ORAZI (1860- 1934): Poster designer, 1884, he designed poster for Sarah Bernhardt. Posters had static style, influenced by Cheret and Grasset. His la Maison Moderne poster: Sophisticated young lady, Egyptian profile, posed before counter bearing objects from gallery. Logo centred in window typifies many applications of art nouveau letterforms to trademark design. 1890s = trademarks for art nouveau origin.

ART NOUVEAU COMES TO AMERICA:

·         British and French graphic art soon joined forces to invade America.

·         Eugene Grasset.

·         British born- LOUIS RHEAD (1857- 1962): prolific flow of posters, magazine covers and illustrations. He adopted French poster as his model.

·         WILLIAM H BRADLEY (1868- 1962): One of the two major American practitioners of art nouveau inspired graphic design and illustration. He was inspired by English sources.  ChapBooks: COLLECTION OF SMALL, CRUDELY PRINTED BOOKS FROM NEW ENGLAND.  INSPIRED BY KELMSCOTT PRESS HE ESTABISHED WAYSIDE PRESS.

·         Caslon types, wide letter spacing , mix of roman, italic, and all capital type, sturdy woodcuts, and plain rules, inspired beginnings of new direction in graphic arts became known as chapbook style.

·         ETHEL REED (b. 1876) = first American woman to achieve national prominence as graphic designer and illustrator. Book illustrator and poster designer.

·         EDWARD PENFIELD (1866- 1925) enjoyed reputation rivaling Bradley’s and Rhead’s.  Watercolour, mature style of contour drawing with flat planes of colour. Eliminated background, forced viewer to focus on figure and lettering. STIPPLE TECHNIQUE.

·         WILLIAM CARQUEVILLE (1871- 1946): created similar posters Lippinscott magazine.

·         MAXFIELD PARRISH (1870- 1966): expressed romantic and idealized view of the world. rejected as a student by Howard Pyle.

INNOVATION IN BELGIUM AND THE NETHERLANDS:

·         Belgium beginnings of creative ferment- 1880s. Cercle des XX (Group of 20). Formed to show progressive art ignored by salon establishment.

·         Georges Lemmen (1865-1916): did cover design. 

·         Mid 1890’s – Belgian art nouveau, significant force. BARON VICTOR HORTA, ARCHITECT AND HENRI VAN DE VELDE: architect, painter, designer, educator, innovator, synthesised sources like Japanese print, French art nouveau, English arts and crafts movement and Glasgow school into unified style. INFLUENCING DEVELOPMENTS IN EUROPE.

·         PRIVAT LIVEMONT (1861- 1936) did posters and was inspired by Mucha’s idealized women, tendrilious hair and lavish ornament.

·         GISBERT COMBAZ (1869- 1941): ARTIST AND HISTORIAN specialized in Far East.

·         NIEUWE KUNST: playful and diverse. Influences from Dutch east indies (Indonesia).

·         1895: mathematics seen as creative source.

·         Batik-making: traditional craft for women in Dutch East Indies. Lush and organic designs of Javanese batik greatly inspired artists like CHRIS LEBEAU AND JAN TOOROP: (1858- 1928) USE OF SILHOUETTE, LINEAR STYLE, and EXPRESSIONS AND HAIRSTYLES OF FEMALE FIGURES DERIVED FROM JAVANESE WAJAN SHADOW PUPPETS.

·         NIEUWE KUNST: NEW ART.

THE GERMAN JUGENDSTIL MOVEMENT:

·         When art nouveau arrived in Germany. = JUGENDSTIL= YOUTH STYLE. New magazine =JUGEND= Youth.  From Munich, spread to Berlin, Darmstadt and all around Germany.

·         German art had strong g=French and Britain influences.

·         Art nouveau ornaments and illustrations on every editorial page. Full double- page illustrations, horizontal illustrations across top of pg., decorative art nouveau designs brought rich variety to format that was about half visual material and half text.

·         HANS CHRISTIANSEN (1866- 1945) = LEADING ARTIST in JUGEND. Simple, san-serif letterforms drawn in constrained pale colours, images are contrasting planes of warm and cool colours. Large scale ornaments, ranged from PETER BEHRENS (1868- 1940). Abstract designs inspired by ancient Egyptian artefacts to stylized floral designs.

·         OTTO ECKMANN (1865- 1902): with BEHRENS was known for multi-colour woodblock prints inspired by French art nouveau and Japanese print.  Eckmann did 5 cover illustrations and numerous decorative borders for Jugend, jewellery, objects, furniture, women’s fashions and typeface Eckmannschrift.

·         He also worked for AEG.

·         Klingspor Foundry.

·         Eckmannschrift: COMBINATION OF MEDIEVAL AND ROMAN.

·         PETER BEHRENS experimented with ornaments and vignettes of abstract design through other publications.

·         Shift from swirling organic line and form to geometric ordering of space.

THE ITALIAN PICTORIAL TRADITION:

·         Sensuous exuberance and elegance rivaling = la belle époque, France.

·         Milan firm, Giulio Ricordi, published opera liberettos and produced most master pieces of Italian poster design.

·         Ricordi’s director, GERMAN BORN ADOLFO HOHENSTEIN (1854- 1928), like Cheret in France, he is seen as father of poster design in Italy.

·         LEOPOLDO METLICOVITZ (1868- 1944) AND GIOVANNI MATALONI (1869- 1944), MARCELLO DUDOVICH (1878- 1962): eclectic designer with unique colourful style. He was like HOHLWEIN, Germany, Preferred elegant subjects in flat areas of colour. , worked under him.

·         PLOSH BORN FRANZ LASKOFF (1869- 1918) AND LEONETTO CAPIELLO (1875- 1942): popular designer for fashionable Mele department store in Naples.