Visual Examples

It was not only art that followed Modernist principles; Modernism also influenced typography. Marked by the principle of ‘form follows function’ a phrase by architect Louis Sullivan, who believed the structure of a building or object, should dictate the form and its external appearance.

     Herbert Bayer’s Universal typeface reflected this idea in both form and name. A student at the Bauhaus, Bayer designed Universal in 1925, a simple, sans serif typeface that would aid all communication within the Bauhaus. It utilizes geometry in the form of each letter, using straight lines at a 45 degree angle and the circle. Whitford, F informs us that Bayer was trying to rationalize writing; a lower case alphabet was used because it only required one alphabet instead of two (1984).

      Source: see references                          Universal, 1925

The use of geometry in Modernism was as important in El Lissitzky’s work. This can be seen in his propaganda poster ‘Beat the whites with the red wedge’ 1919. Used during the Russian Civil War, it utilizes the geometric motif of a large red triangle which is penetrating their opponent the white circle. A visual language of primary colours, pure geometry, which communicates a political message everyone could understand. 
     

Beat the Whites with the Red Wedge, 1919

From the turmoil following WW1, many artists aimed to express a utopian view of a better world.

'As if by magic, a new unity in art had developed in Europe during the isolation of the war years. Now that the war was over, a kind of aesthetic brotherhood suddenly emerged….there was one common purpose to, start from the beginning again by returning to the most elementary and basic concepts and to build something new upon the fundamentals.'

(Hans Richter, Dada Profile 1961, p.27)

The De Stijl movement sought to create this idea based on spiritual harmony within geometry, form and colour. Also applying to objects, the Red Blue Chair 1917 was designed by Gerrit Rietveld. Constructed from wood, Rietveld examined the relation between vertical, horizontal lines. A primary colour scheme, the areas of colour made the chair appear to float, giving it a transparent structure. As indicated by The Museum of Modern Art, rather than focusing on physical comfort, Rietveld believed in the greater goal of well being and comfort of the spirit (2004).

                                            The Red Blue Chair, 1917    
                                                           Source: see references

The importance of craft was a key concept within Modernism.  The Wiener Werkstatte emphasised fine craftsmanship in all their works. The workshop was successful for producing furniture and objects. The Sitzmaschine Armchair, 1905 designed by Josef Hoffmann for his Purkersdorf Sanatorium.  Following William Morris’s principle of quality, hand crafted design. Made from bentwood, this chair unitizes quality material, rectilinear forms contrast with thin curved lines. Moma highlights that the ball motif reinforces the design of the chair and becomes a decorative element itself (2004).

                                               The Sitzmaschine Armchair, 1905  
                                                              Source: see references

  

The workshops ability to change with the times perhaps accounts for its long success. Initially Hoffmann and Moser sought to create a geometric functional style. Gabriele informs us that the departure of co-founder Koloman Moser in 1907 was a turning point for the Wiener Werkstatte, a more decorative aesthetic was introduced (2003). Hoffmann’s style became more fluid and ornamental. This can be seen especially in his Brooch 1908. Semi precious stones were used for beauty instead of value. Although much more ornamental than his previous works, there is still emphasis on geometry. National Gallery Victoria implies the square composition employs symmetry; vertical lines are used to give a sense of monumentality despite its size (2011).

                                         Brooch, 1908

                                     part 3 citations and quotes are already distributed in each section.