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modern design
Books and materials relating to the applied arts after WWI; their use in architecture & interior design; the design of handworked and manufactured objects including: ceramics, metalwork, wood, jewelry, textiles, glass, furniture, graphics, clocks & watches, toys, leather, etc. |
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Cohen, Arthur A., Herbert Bayer: The Complete Work, Cambridge, MA, MIT Press, 1984, first edition, 4to (11.75 x10), HB, white cloth boards w/ blue titles, Near Fine / VeryGood. The book is pristine save for slight wear (from shelving) to the bottom board edges; dust jacket has minor wear on the front and usual minor rubbing to the rear.
xvii + 429 pp. 350 b&w plates, 43 color plates. Sections on each of Bayer's diverse works: painting, sculpture, environments, graphic design, photography, exhibition & architectural design, and selected writings. Great bibliography; extensive footnotes at the rear. Catalogue raissonné of the Bauhaus master's enormous body of work in the many fields of his remarkable achievements. Bayer himself acted as the art director for this handsome and comprehensive volume.
Herbert Bayer (1900-1985) was an Austrian-born artist who received early training at the Bauhaus by Johannes Itten and Wassily Kandinsky. He was subsequently appointed by Bauhaus director, Walter Gropius to teach a workshop there, "Druck und Reklame" (printing and advertising) from 1925-1928. At Dessau, during his subsequent residence in Berlin, and after his move to the US, Bayer continued to hone his particular artistic vision in painting, graphic design, advertising, and exhibition design. In 1938, the year Bayer emigrated, he again collaborated with his Bauhaus colleague Walter Gropius, organizing the landmark Museum of Modern Art exhibition 'Bauhaus 1919-1928'. He settled in NYC, working primarily in graphic design and advertising, and most significantly was hired in 1946 as a design consultant to the Container Corporation of America, by its progressive CEO Walter Paepke who had been supportive of the re-establishment of the Bauhaus in Chicago. As such Bayer was encouraged to move to Aspen and, together with Paepke, was a key participant in the early transformation of Aspen from a remote, down-at-the-heels former mining town into a center "for thinkers, leaders, artists, and musicians from all over the world to step away from their daily routines and reflect on the underlying values of society and culture" [The Aspen Institute] and the establishment of The Aspen Institute for Humanistic Studies. He was the architect for its first building and the restoration of the Wheeler Opera House. The Aspen Institute remains a cultural center dedicated to fostering the synthesis of the arts and the sciences.
From his early years at Dessau, and throughout his lengthy career Bayer continuously honed his prodigious range of endeavors – painting, drawing, architecture, graphic design, photography, advertising, and exhibition design, into a particular artistic vision that aimed constantly to unite the arts and the human experience of an ever-developing technological life. His profound influence, though rooted in the lexicon of his original Bauhaus experience, has so thoroughly asserted itself on the "look" of American advertising, that today we perceive it as one that is quintessentially American. Bayer was an AIGA medalist in 1971 for his lifetime of exceptional work and contribution to the field of design.
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