Study Task 4//Initial Bibliography//Essay

Focussing on specific examples, describe the way that Modernist art and design was a response to the forces of modernity?

Modernism is ‘A set of aesthetic movements that emerged in Europe in the 1880s, flourished before and after the First World War and became institutionalised in the academies and art galleries of post World War Europe and America’[1] referred to by Boyne and Rattansi (1990: 6). Whereas modernity is the way in which the modern life is experienced. Modernity was a time of innovation and the progression of new ideas. Whether this was expressive in art, architecture and science. Rethinking traditions and altering believes was one of the most powerful forces of modernity, encouraging art and design ever since. Boyne and Rattansi also identified four features that distinguished modernism to pre-modernism, including ‘Self reflexiveness’, ‘montage’, ‘ Paradox, ambiguity and uncertainty’ and finally ‘integrates individual subject’[2] (Boyne and Rattansi, 1990: 6). All of these features were recognized to improve the way in which art and design was defined by the modernist era. ‘A Sunday Afternoon On The Island Of La Grande Jatte’ was cleverly portrayed by painter George Seurat who used a combination of form and colour variation. Along with painters, many artists produced art and design as a response of modernity and these four features. ‘Modernism is a critique of modernity’[3] explains Boyne and Rattansi. (Boyne and Rattansi, 1990: 6).

Within the modernist movement, urban and country life were radically different. In 1900, Paris was known as the mot progressive city in the World. This was mainly influenced by urbanisation and industrialisation. In the 1850’s, Haussman, an architect, redesigned parts of the city by inserting narrower streets and larger boulevards so that the streets would be easier to police, forming a new way of social control. The centre also became an upper class zone, creating a divided between the class hierarchies. This was also known as ‘Haussmanisation’. The modernist era was a time of experimentation, especially when it came to the use of materials, construction and scale. The Eiffel tower is one of the most renowned structures in the World. The design itself is an example of a response to modernity. Built from 1887-1889 as the entrance arch to the world fair. Iron was the primary material to construct the tallest tower in France. Tatlin’s tower was a similar design, planned by an architect from Russia, named Vladimir Tatlin but was never constructed. The structure would have be made with iron, glass and steel and presented in a modernist form. These two towers both represent a clear and direct response to the forces of modernity, mainly displaying ‘Truth to materials’ which conveys simple geometric forms that are appropriate to the material being used. Furthermore, ‘Trottoir Roulant’ was an electric moving walkway, which was created in the 1900’s as a new form of transport. The cheap materials and new sites conformed to the

design functions of modernism. In this time, technology was becoming a barrier between experiences and the world.  In 1937, Paris also saw the ‘Exposition of internationale’ which saw ‘an anti-fascist alliance of left wing parties, which came to power in 1936’[4](Wood, 2004:12). The parties main ambitions ‘were economic: to stimulate the depressed economy, to reduce unemployment…. and to showcase French products and technology’[5](Wood, 2004:12). Over three hundred pavilions were made, including foreign ones. Josef Thorak was a sculpture for the German pavilion that created modernist strong figurines attempting to represent an ancient Greek sculpture.

Looking into modernism in design shows numerous factors that have come about as a response to modernity. Firstly, ‘Internationalism’ explores the idea of how a piece of art can communicate in an international language. ‘The London Underground’ originally design by Harry Beck, an engineer, is a universal icon of graphic design. The construction of the map displays a form of lines and a key that has been specifically designed for a purpose. This purpose being that it is understood on an International level. The reason that this feature is so effective, particularly in this example, is because of the simplicity in the concept and design. Another focus point is, ‘Anti-historicism’ which portrays the concept of not looking back in time in need to move forward. In terms of design, this means avoiding looking back into older styles. ‘Ornament and crime’ is an essay written by Adolf loos, in 1908, which he describes how objects can easily become out of date and out style, almost suggesting it to have immortality once this process has happened. Lastly, ‘Form follows function’ is a principle often associated with architecture and industrial design. The meaning of the principle is that the way something is constructed is based upon the object or buildings intended purpose. Therefore things are made purely due to its function and not the other way around. Alexander Rodchenko was an artist and graphic designer who explored constructivism and Russian design. His wife, Varvara Stepanova was also a designer. Regarding the principle, ‘Form follows function’, Stepanova designed a series of sports clothes that were comfortable and expressed equality and optimism. The woman designer also increased gender roles in a social context. ‘Her work shows a direct influence of the Cubists and the Futurist art movements and she spent her career dedicated to trying to use her work to create revolutionary change within society’[6] (Design is history, 2012).

Post Germany’s defeat in World War 1, the Bauhaus operated from 1919 to 1933 in Germany, founded by architect Walter Gropius. The building itself was influenced by modernist architecture. The function of the building was to hold a school of art and design. It was somewhere to explore crafts and techniques in a new way. Subjects such as typography, pottery and wall painting were educated. ‘While maintaining the emphasis on craft, [Gropius] repositioned the goals of the Bauhaus in 1923, stressing the importance of designing for mass production. It was at this time that the school   

adopted the slogan “Art into Industry”’[7] (The Metropolitan Museum of Art, 2012). However, as time has shown, the idea of mass-production was already partly developed in Germany before the Bauhaus. Just like Walter Gropius, nineteenth English artist, William Morris also lead the same importance in terms of form and function when it came to design. Prestigious work from Herbert Bayer was incredibly influential, as he was known to be the last designer who came from the Bauhaus. Bayer’s most well-know work was the discovery of the ‘Universal Type’[8] (Bayer.H 1999), where he experimented with a lower sans serif typeface with an input of geometric shapes and construction. The type on the Bauhaus currently, is based upon this 1925 typeface. It has encouraged typographers all over the world.  Bauhaus didn’t only influence architecture and typography in the modernist era, but also furniture and interior design. Le Corbusier was a modern architecture and furniture designer. He believed in designing for comfort and therefore the modernist believe in ‘form follows function’. He created the ‘Le Corbusier LC2’, which was a sofa and still well recognised as an iconic piece of design. The furniture was within a set, which was referred to as ‘Equipment for Living’ [9](http://www.interioraddict.com, Le Corbusier, 2012) by Corbusier himself. Sticking to the modernist views and regarding ‘truth to materials’, the pieces were made out of leather and steel, which still influences today’s furniture design. The popularity and practicality of Le Corbusier work, just shows how successful the original concept, influenced by the forces of modernity was. So much so that it was referred to as the ‘relaxing machine’[10] (http://www.interioraddict.com, Le Corbusier, 2012).

To conclude, the impact that modernism has had, even in today’s design world is easily once of the most influential art movements. Whether it is architecture, graphic design or furniture, each craft has been carefully progressed and experimented with to ensure radical changes to art and design. There are many principles that have been outlined within the modernist theory, which allows explanation of why art and design, is how it is now. The city of Paris explored many aspects of modernity including Haussmanisation, urbanisation and industrialisation. New technologies and materials have had positive implications on art and design. However, at the same time this caused traditional views and design techniques to be altered. A concept such as ‘form follows function’ is a simple way of allowing design not to be out-dated. When it comes to aesthetics, modernism has influenced this idea of using a variation of media, colour and geometrics such as ‘montage’. The way fashion and photography has been positively encouraged by this era. Equally, an event such as World War 1 was a focal point in the 1900’s. It was a turning point for the movement, encouraging the opening of Bauhaus, Germany which then went on to take traditions and change them into something refreshing. Post modernism then lead on from this movement that took on historic events, influential artists and therefore a change in design. However, overall, the forces of modernity caused a noticeable shift in art and design that has shaped the way that artist works in today’s current society.

---

[1]Boyne.R & Ali.R (1990) Postmodernism and Society, University of Michigan, Macmillan Education

[2] Boyne.R & Ali.R (1990) Postmodernism and Society, University of Michigan, Macmillan Education

[3] Boyne.R & Ali.R (1990) Postmodernism and Society, University of Michigan, Macmillan Education

[4] Wood, P (2004) ‘Varieties of Modernism’, London, Yale University Press

[5] Wood, P (2004) ‘Varieties of Modernism’, London, Yale University Press

[6] Design Is History. (2012). Home: Design Is History. [ONLINE] Available at: http://www.designishistory.com. [Accessed 10 January 2012].

[7] The Metropolitan Museum of Art - Home. 2012. [ONLINE] Press 2000–2012 The Metropolitan Museum of Art. Available at: http://www.metmuseum.org. [Accessed 12 January 2012].

[8] Bayer.H (1999) ‘Essay’, ‘Anon’

[9] Designer Furniture, London Shop. Le Corbusier, 2012. [ONLINE] Available at: http://www.interioraddict.com. [Accessed 19 January 2012].

[10] Designer Furniture, London Shop. Le Corbusier. 2012. [ONLINE] Available at: http://www.interioraddict.com. [Accessed 19 January 2012].

Bibliography

1. Boyne.R & Ali.R (1990) Postmodernism and Society, University of Michigan, Macmillan Education.

2. Wood, P (2004) ‘Varieties of Modernism’, London, Yale University Press.

3. Design Is History. (2012). Home: Design Is History. [ONLINE] Available at: http://www.designishistory.com. [Accessed 10 January 2012].

4. The Metropolitan Museum of Art - Home. 2012. [ONLINE] Press 2000–2012 The Metropolitan Museum of Art. Available at: http://www.metmuseum.org. [Accessed 12 January 2012].

5. Bayer.H (1999) ‘Essay’, ‘Anon’

6. Designer Furniture, London Shop. (2012). [ONLINE] Available at: http://www.interioraddict.com. [Accessed 19 January 2012].

7. Hughes.R (2009) ‘The Shock of the New: Art and the Century of Change’, London, Thames & Hudson.

8. Carmel-Arthur.J (2000) ‘Bauhaus’, 1st Edition. Carlton Publishing.

9. Rodrigues.C & Grarratt.C (2001) ‘Introducing Modernism’, 1st Edition ‘Anon’.

10. Christopher. C (2007) Modernism in Art Design and Architecture, USA, St Martins Press.