Chapter Twelve: The Genesis of Twentieth Century Design

I thought this chapter was interesting, for it was the transformation of art nouveau and 19th century art into modern, 20th century art. With it being the turn of the century, change in design was desired. A new form of expression was wanted, along with the addressing of social, economic, cultural conditions. Frank Lloyd Wright was a man who’s work evolved from organic and curvilinear to rectilinear. This American influenced the work of many other designers, especially Europeans. “The Four” was a group of two women and two men designers who also helped with the evolution of design. They also carried out the rectangular, geometric designs. Bold, simple lines with flat planes of color were included in their work. The females of the group tended to create dream and fantasy-like compositions. People were created to look more abstract, and this was not accepted by many people. The Vienna Succession was a group of artists from Vienna; workshops were started, which became popular, but only lasted until the time of the Depression in 1932. Linear and geometric lines/shape became important design elements during this time. A repetition of simple shapes was used. Peter Behrens was a man who wanted to help with the change of type. The first type that he created was Behrenschrift, which was universal and successful. Many did not accept this type because of the curvy, feather-like characters. Behrens was known as “the first industrial designer”. He created designs for products and became interested in architecture; his ideas made an impact on future architecture developments. J. L. Mathieu Lauweriks came up with an interesting grid system for his work. A square was drawn outside of a circle and geometric proportions and dimensions were discovered. With the proper proportions, this system was eventually used with designing buildings, objects and graphics. With the German Association of Craftsmen in 1907, machines became accepted and useful; form and meaning could be incorporated into their designs. Behrens ended up incorporating harmony and proportion with manufacturing and technology. Brehens-Antiqua was a new great type created by Behrens, which became universal and could be distinguished from every other text. During the last decade of the 1800s, the first Underground Railroad was created in London. Frank Pick was essential to the design and type of the signs placed in the subways. A sign with a blue bar, red circle and white text was developed and was so successful that it is still seen today. This sign was created by Edward Johnston, one who was a model for international design. In Germany, Austria and Scotland, Art Nouveau ended as there was a desire for spiritual and societal needs. Inventive space and form was used, which became the foundation for design in the new century.

The most interesting thing I learned was how a new art style was developing as a new century was beginning. Art Nouveau really did not last a long time, and I believe that it was because of the desire for a new design and expression. I think it is interesting how the design ideas evolved so quickly from the organic, ornamental, curvilinear compositions to being rectilinear, geometric, and simple with thick outlines of forms and flat planes of color. I think that this chapter really was a great and interesting explanation of the evolution from art nouveau to modern art. Over the past week I was wondering how and why modern art was formed so rapidly into the new century since I am presenting on early modern art; I now have a better understanding of the sudden changes.

What inspired Behrens to create feather-like type? After seeing it, I noticed how interesting and original it appeared.