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Optos Books - Rare and Hard to Find Books on the Visual History of Modern Design - graphic design | typography: Graphic Design in Germany, 1890-1945 - Optos Books
                       
                       
 
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Publications on the history of modern typography, trademarks & logotypes, packaging, posters, advertising, signage, commercial art, book design, letterheads, etc., including notable designers and their works in these fields.

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Aynsley, Jeremy, Graphic Design in Germany, 1890-1945, Berkeley & Los Angeles, University of California Press, 2000, First edition, 4to (11.25" x 10"), HB, gray cloth boards w/ white spine titles, F/ NF. A bit yellowed.

240 pp. 253 illustrations (152 in color). Published in conjunction with an exhibit at the Wolfsonian. From the press release about the exhibit: When graphic design emerged as a profession in the early twentieth century, Germany was at the vanguard. Since the Middle Ages, the country had been associated with the arts of the book, and as industrialization took hold, it witnessed an explosion in the printing arts, with the rise of mass circulation advertising, books, magazines, and packaging.

The extraordinarily rich history of German graphic design is the subject of "Print, Power, and Persuasion: Graphic Design in Germany, 1890-1945." Working with Wolfsonian curator Marianne Lamonaca, guest curator Jeremy Aynsley, Course Director of the History of Design at the Royal College of Art in London, has assembled over 50 posters and a selection of books, journals, brochures, and other printed materials from The Wolfsonian’s collection. The exhibition, which opens September 27, 2000 and runs through April 29, 2001, traces the emergence of modern, commercial print media in Germany, and the major role which graphic designers played.

The "graphic designer" was an invention of the period. Between 1890 and 1945 unprecedented attention was given to the designing of graphic ornament, typefaces, and logos in a range of printed media, such as books, advertisements, magazines, posters, and signs. Many German designers during this period, including luminaries like Peter Behrens, Lucian Bernhard, Herbert Bayer, and John Heartfield, strove to raise the standards of printed culture by integrating experimental ideas from design reform movements of the late nineteenth century to the other avant-garde movements of the early twentieth century, such as constructivism. Accordingly, they produced a wide stylistic range of objects.

At the same time, they operated in politically turbulent times, which saw Germany rise to power and aggression, and then, after defeat in World War I, pass through the experimental decades of the Weimar Republic. From 1919-1933, designers joined forces with other cultural figures in the hope of establishing an international exchange of ideas—a hope that was quashed as Adolf Hitler consolidated his power after January 1933, and National Socialism clamped down on most progressive artistic activity.

"Print, Power, and Persuasion" presents new ways of thinking about design, especially as it relates to key trends of the modern age. Was graphic design an art form or, instead, a form of commerce? Was it moral or immoral? Did it serve nationalistic ends or internationalist ones? Dr. Aynsley suggests it was all these: Diverse and contradictory, graphic design showed itself capable of satisfying different expectations within different contexts.

Dr. Aynsley is a well-known scholar of twentieth-century design whose special research interest is early modern graphic design. He was curator of the Victoria and Albert Museum’s 1997 exhibition, Signs of Art and Commerce: Graphic Design in the German Language, 1900-1950, and was a Visiting Fellow at The Wolfsonian in 1996. His latest work, Graphic Design in Germany 1890-1945, will be published by Thames & Hudson in conjunction with the exhibition.


Contents:
Introduction
Peter Behrens, Lucian Bernhard & Fritz Hellmut Ehmcke: Three Models of Graphic Designer
Modernism & Graphic Art Education: The Bauhaus and the Reimann School 1919-1938
Forces of Persuasion: Magazines, Exhibitions & Associations
Style & Ideology: Nazification & Its Contradictions in Graphic Design 1933-1945
Conclusion
Notes
Bibliography
List of illustrations

A comprehensive survey of German commercial graphics covering the transition from applied art to modern graphic design, the influence of the Bauhaus & Reimann schools, Germany's self-promotion, & Nazification. This volume celebrates the experimentation and innovation in design that occurred in Germany during the 50 years prior to WWII, exploring the phenomenon that the industrial boom following the Franco-Prussian War had - breathing an aggressive and aesthetically adventurous life into the field of German advertising. Illustrated examples are primarily posters and magazine ads, however typography and logo design also receive solid treatment. Featured designers from the period include Henry van de Velde, Peter Behrens, Jan Tschichold, John Heartfield, and Herbert Bayer. Bauhaus founders and teachers/artists - Walter Gropius, Mies van der Rohe, and Moholy-Nagy, figure heavily in the book and the contributions others Van de Velde, Behrens, Tschichold, Heartfield, Bernhard, Ehmcke, Bayer are discussed. A fascinating look at the art produced for the Nazi regime is also included. Mr. Aynsley's years of research, superbly illustrated with hundreds of diverse examples, provides a valuable chronicle of this influential time in design history, still felt in our new century. Extensive bibliography.     [Book ID # 236]


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