Avantgarde highlights the advent of the poster and the beginnings of graphic design as an indepen-dent design discipline: between the wars, photography, typography and visual abstraction were at the heart of the poster; based on the reform movements at the turn of the century and the various “isms” in art after 1900, it became both a reflection of innovative design ideas and an expression of the zeitgeist and its radical socio-political utopias.
Posters served as a medium for propaganda and education, promoted new products and technical achievements, encouraged new discussions about “Neues Bauen und Wohnen” (new building and living) and attracted people to photography, film and advertising exhibitions. Both the traditional concept of art and the conventional role of artists were questioned. A rational, sober approach that rejected all individualism became a commitment to universal modernism and confidently demanded a new way of seeing.
Posters of Russian constructivism by El Lissitzky or Valentina Kulagina held their own alongside art deco posters by Adolphe Mouron Cassandre or Jean Carlu. Jan Tschichold, Herbert Matter and Maja Allenbach experimented with photography in very different poster genres. It came to a temporary end with the totalitarian movements around 1935 – but its inspirations continue to have an impact today.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
BETTINA RICHTER is curator of the poster collection of the Museum für Gestaltung Zürich and editor of the series Poster Collection.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Paperback. Etat : New. Avantgarde highlights the advent of the poster and the beginnings of graphic design as an indepen-dent design discipline: between the wars, photography, typography and visual abstraction were at the heart of the poster; based on the reform movements at the turn of the century and the various "isms" in art after 1900, it became both a reflection of innovative design ideas and an expression of the zeitgeist and its radical socio-political utopias.Posters served as a medium for propaganda and education, promoted new products and technical achievements, encouraged new discussions about "Neues Bauen und Wohnen" (new building and living) and attracted people to photography, film and advertising exhibitions. Both the traditional concept of art and the conventional role of artists were questioned. A rational, sober approach that rejected all individualism became a commitment to universal modernism and confidently demanded a new way of seeing.Posters of Russian constructivism by El Lissitzky or Valentina Kulagina held their own alongside art deco posters by Adolphe Mouron Cassandre or Jean Carlu. Jan Tschichold, Herbert Matter and Maja Allenbach experimented with photography in very different poster genres. It came to a temporary end with the totalitarian movements around 1935 - but its inspirations continue to have an impact today. N° de réf. du vendeur LU-9783037788189
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Taschenbuch. Etat : Neu. Neuware -'Avant-Garde' highlights the advent of the poster and the beginnings of graphic design as an independent design discipline: between the wars, photography, typography and visual abstraction were at the heart of the poster; based on the reform movements at the turn of the century and the various 'isms' in art after 1900, it became both a refl ection of innovative design ideas and an expression of the zeitgeist and its radical socio-political utopias.Posters served as a medium for propaganda and education, promoted new products and technical achievements, encouraged new discussions about 'Neues Bauen und Wohnen' (new building and living) and attracted people to photography, film and advertising exhibitions. Both the traditional concept of art and the conventional role of artists were questioned. A rational, sober approach that rejected all individualism became a commitment to universal modernism and confidently demanded a new way of seeing. Posters of Russian constructivism by El Lissitzky or Valentina Kulagina held their own alongside art deco posters by Adolphe Mouron Cassandre or Jean Carlu. Jan Tschichold, Herbert Matter and Maja Allenbach experimented with photography in very different poster genres. It came to a temporary end with the totalitarian movements around 1935 - but its inspirations continue to have an impact today.; «Avant-Garde» zeigt das Plakat im Aufbruch und den Beginn des Grafikdesigns als eigenständige Gestaltungsdisziplin: Zwischen den Kriegen standen Fotografie, Typografie und bildliche Abstraktion im Zentrum des Plakats; ausgehend von den Reformbewegungen der Jahrhundertwende und den Ismen in der Kunst nach 1900 wurde es ebenso zum Spiegel innovativer gestalterischer Ideen wie zum Ausdruck des Zeitgeists und seinen radikalen gesellschaftspolitischen Utopien. Das Plakat diente als Propaganda- und Aufklärungsmedium, pries neue Produkte und technische Errungenschaften an, lud zu Auseinandersetzungen um das «Neue Bauen und Wohnen», zu Foto, Film- und Werbeausstellungen ein. Sowohl der traditionelle Kunstbegriff als auch die konventionelle Rolle der Kunstschaffenden wurde hinterfragt. Ein rationaler, nüchterner, jeden Individualismus verweigernder Ansatz wurde zum Bekenntnis einer universalen Moderne und forderte selbstbewusst ein neues Sehen ein.Plakate des russischen Konstruktivismus von El Lissitzky oder Valentina Kulagina behaupteten sich neben Art-déco-Plakaten von Adolphe Mouron Cassandre oder Jean Carlu. Jan Tschichold, Herbert Matter und Maja Allenbach experimentierten mit Fotografie in ganz unterschiedlichen Plakatgattungen. Mit den totalitären Bewegungen um 1935 fand die Avantgarde ein vorläufiges Ende - aber ihre Inspirationen wirken bis heute fort. 128 pp. Englisch, Deutsch. N° de réf. du vendeur 9783037788189
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Taschenbuch. Etat : Neu. Neuware -'Avant-Garde' highlights the advent of the poster and the beginnings of graphic design as an independent design discipline: between the wars, photography, typography and visual abstraction were at the heart of the poster; based on the reform movements at the turn of the century and the various 'isms' in art after 1900, it became both a refl ection of innovative design ideas and an expression of the zeitgeist and its radical socio-political utopias.Posters served as a medium for propaganda and education, promoted new products and technical achievements, encouraged new discussions about 'Neues Bauen und Wohnen' (new building and living) and attracted people to photography, film and advertising exhibitions. Both the traditional concept of art and the conventional role of artists were questioned. A rational, sober approach that rejected all individualism became a commitment to universal modernism and confidently demanded a new way of seeing. Posters of Russian constructivism by El Lissitzky or Valentina Kulagina held their own alongside art deco posters by Adolphe Mouron Cassandre or Jean Carlu. Jan Tschichold, Herbert Matter and Maja Allenbach experimented with photography in very different poster genres. It came to a temporary end with the totalitarian movements around 1935 - but its inspirations continue to have an impact today.; «Avant-Garde» zeigt das Plakat im Aufbruch und den Beginn des Grafikdesigns als eigenständige Gestaltungsdisziplin: Zwischen den Kriegen standen Fotografie, Typografie und bildliche Abstraktion im Zentrum des Plakats; ausgehend von den Reformbewegungen der Jahrhundertwende und den Ismen in der Kunst nach 1900 wurde es ebenso zum Spiegel innovativer gestalterischer Ideen wie zum Ausdruck des Zeitgeists und seinen radikalen gesellschaftspolitischen Utopien. Das Plakat diente als Propaganda- und Aufklärungsmedium, pries neue Produkte und technische Errungenschaften an, lud zu Auseinandersetzungen um das «Neue Bauen und Wohnen», zu Foto, Film- und Werbeausstellungen ein. Sowohl der traditionelle Kunstbegriff als auch die konventionelle Rolle der Kunstschaffenden wurde hinterfragt. Ein rationaler, nüchterner, jeden Individualismus verweigernder Ansatz wurde zum Bekenntnis einer universalen Moderne und forderte selbstbewusst ein neues Sehen ein.Plakate des russischen Konstruktivismus von El Lissitzky oder Valentina Kulagina behaupteten sich neben Art-déco-Plakaten von Adolphe Mouron Cassandre oder Jean Carlu. Jan Tschichold, Herbert Matter und Maja Allenbach experimentierten mit Fotografie in ganz unterschiedlichen Plakatgattungen. Mit den totalitären Bewegungen um 1935 fand die Avantgarde ein vorläufiges Ende - aber ihre Inspirationen wirken bis heute fort. 128 pp. Englisch, Deutsch. N° de réf. du vendeur 9783037788189
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Taschenbuch. Etat : Neu. Avant-Garde | Poster Collection 38 | Bettina Richter (u. a.) | Taschenbuch | Poster Collection | 128 S. | Deutsch | 2026 | Lars Müller Publishers | EAN 9783037788189 | Verantwortliche Person für die EU: Lars Müller Publishers, Michael Klein, Hub 1, 84149 Velden, gpsr[at]lars-muellerpublishers[dot]com | Anbieter: preigu. N° de réf. du vendeur 136075444
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Paperback. Etat : New. Avantgarde highlights the advent of the poster and the beginnings of graphic design as an indepen-dent design discipline: between the wars, photography, typography and visual abstraction were at the heart of the poster; based on the reform movements at the turn of the century and the various "isms" in art after 1900, it became both a reflection of innovative design ideas and an expression of the zeitgeist and its radical socio-political utopias.Posters served as a medium for propaganda and education, promoted new products and technical achievements, encouraged new discussions about "Neues Bauen und Wohnen" (new building and living) and attracted people to photography, film and advertising exhibitions. Both the traditional concept of art and the conventional role of artists were questioned. A rational, sober approach that rejected all individualism became a commitment to universal modernism and confidently demanded a new way of seeing.Posters of Russian constructivism by El Lissitzky or Valentina Kulagina held their own alongside art deco posters by Adolphe Mouron Cassandre or Jean Carlu. Jan Tschichold, Herbert Matter and Maja Allenbach experimented with photography in very different poster genres. It came to a temporary end with the totalitarian movements around 1935 - but its inspirations continue to have an impact today. N° de réf. du vendeur LU-9783037788189
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