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 most 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.
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.
[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)
[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].
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