Presented above is a detailed infographic depicting the timeline of the fruition and implementation of moveable type and its various styles alongside a depiction of the initial influencers and innovators of movable type. This infographic goes in to a detailed description of when pivotal moments happened from the fruition of movable type up until 1945. The infographic contains multiple icons and colour designations for topics such as centuries, locations, what their specific invention was and so on.
The Persistence of Memory”, color lithograph by Salvador Dali Source: https://auctionet.com/en/1371619-salvador-dali-the-persistence-of-memory-color-lithograph-signed-and-numbered-102-300
The Surrealist movement initially surfaced in France in 1924 as an offset from Dadaism. It was the poet Guilliame Apollinaire who first coined the term “Surreal” in reference to the idea of an independent reality, existing “beneath” our conscious reality. He coined the word for the play Les Mamelles de Tirésias performed in 1917. The word sparked the imagination of the French poet André Breton. He published his “Manifesto of Surrealism,” influenced by the theories and writings on the unconscious by psychologist Sigmund Freud and Carl Jung, and the early 20th– century Dada movement. This interest in the collective or individual subconscious was in many ways a result of the alienation from and disillusionment with humanity following the end of World War I.
While Surrealism started as a literary movement in the prose and poetry of Breton and others, visual artists such as Giorgio de Chirico, Pablo Picasso, Francis Picabia, and Marcel Duchamp embraced Surrealism and were recognized in Breton’s 1925 publication, “La Révolution Surréaliste.” One artist who crossed over from the Dadaist pond to surrealism was Max Ernst.
Front cover of first issue of La Révolution surréaliste, December 1924. Source: https://en.wikipedia.org/wiki/La_R%C3%A9volution_surr%C3%A9aliste
A fundamental aspect of the Surrealist movement is a mode of expression called “automatism,” which involves the act of automatic or uncensored recording of the thoughts and images that emerge into an artist’s mind. It was Breton’s writing technique: write what comes spontaneously to your head, applied to pictorial artwork to release the mind’s imagination and unconscious thoughts, which was interpreted differently by each artist. With a focus on tapping into involuntary thought processes and interpreting dreams, Surrealist artwork is not limited to a specific artistic style or technique.Throughout the 1920s, visual artists continued exploring Surrealist concepts in art, seeking complete creative freedom. At the core of the Surrealist movement, was a sustained sense of revolt against the expected conventions of artistic practice.
Love Song painted by Giorgio de Chirico in 1914. Source: https://pixels.com/featured/love-song-giorgio-de-chirico.html
The first-ever Surrealism exhibition, titled “La Peinture Surrealiste,” took place in 1925 at the Galerie Pierre in Paris, firmly establishing the visual components of the movement.
Surrealist artists were not confined to just one medium. Sculptures, painting, lithography, etching, film, photography, and other methods were all part of 1920s Surrealist art.
Many Surrealist artists also combined different artistic styles in a single work, exploring the presence of recognizable shapes paired with fluid, uncertain imagery to guide their viewers’ minds without providing concise explanations. The main goal for Surrealist artists was to embrace automatism and to release the mind’s imagination and unconscious thoughts, which was interpreted differently by each artist.
In 1930 Breton praised Dalí’s representations of the unconscious in the Second Manifesto of Surrealism.
Together with Magritte, Dali has become the most popular of the surrealists, though there have been many equally good contenders to this coveted position. Still, the world would not have been the same without Dali’s melting clocks, lobster telephone, stilettoed elephants and whatnot.
The Surrealist movement in Europe dissipated at the start of World War II, many Surrealist artists relocated away from its epicenter where the movement was reignited, influencing renowned visual artists throughout the 20th century.
Sources:
Breton, André. Surrealism and Painting, Icon, 1973
Alexandrian, Sarane. Surrealist Art London: Thames & Hudson, 1970.
Caws, Mary Ann, Surrealist Painters and Poets: An Anthology 2001, MIT Press.
Surrealist Art. Centre Pompidou Educational Dossiers. Aug 2007
An image of the artist and architect, Le Corbusier. Source: https://www.slideshare.net/LAAH933/week3a-2671075
This project is comprised of a handmade artifact that is based on the revolutionary architect “Le Corbusier” or Charles-Édouard Jeanneret-Gris, and his architectural commision that completed in 1931 called The Villa Stein, or Maison Stein-De Monzie. Le Corbusier gained notoriety by the young age of 27, for inventing the dom-ino effect, which was a construction system that utilized slabs supported by columns, open floor plans with virtually nothing else, no rooms at all.
A visual of Le Corbusiers concept, the Dom-ino Effect. source: https://www.dezeen.com/2014/03/20/opinon-justin-mcguirk-le-corbusier-symbol-for-era-obsessed-with-customisation/
image of the Villa De Monzie, 1926-28. Source:https://www.slideshare.net/LAAH933/week3a-2671075
construction of Villa Stein, Source: https://www.slideshare.net/LAAH933/week3a-2671075
Pictures of the interior of the Villa. Source: https://www.slideshare.net/LAAH933/week3a-2671075
Le Corbusier, spearheaded a movement called Purism in 1918, which at that time was commonly also associated with Walter Gropius and the Bahaus. Purism largely affected areas such as architecture and painting. This movement focuses on basic forms and function without trying to be aesthetically different or original. To replicate the building, I used a method call Kiragami, similar to Origami but with the inclusion of cut paper. I chose this method because I believe it was the best way to replicate that feeling of Purism, cleanliness and simplicity.
references:
Richards, Simon, and Richards. “Le Corbusier.” Encyclopedia of Urban Studies, edited by Ray Hutchinson, Sage Publications, 1st edition, 2009. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/sageurban/le_corbusier/0?institutionId=6884. Accessed 18 Nov. 2020.
The Teresian School Source: http://paraviajarproject.blogspot.com/2016/03/barcelona-nick-j.html
During the second half of the 19th century, Barcelona was at its economical and social peak. The old part of the city, surrounded by walls and bounded by the sea, had become too small to accommodate the large buildings that were being put up by the new emerging society. In 1857 a decision was taken to annex neighbouring towns, which until then had been summer destinations where the middle class had constructed enormous mansions that still stand today.
Casa Vincens Source: https://www.thisiscolossal.com/2019/06/casa-vicens/
1878 marks the beginnings of Modernism in Spain when Catalan architect Domenech i Montaner published an article in the Catalan newspaper La Renaixensa entitled “The Quest for a National Architecture” where he expressed the need for Catalonia to develop its own individual style. From that moment on, buildings were constructed based on history yet characterized by the personality of the architect who transformed classical notions into new architectural interpretations. Casa Vincens (1878-1880), designed by Antoni Gaudí, is an example of this movement.
If indeed the year of 1878 was key, it was not until 1880 that the Modernist style came into its own. The 1888 Universal Exhibition held in Barcelona provided a platform for promoting and exhibiting the artistic novelties that would not take long to spread throughout society as a whole.
The Barcelona Exhibition served to demonstrate the power of the middle class, who believed they were fulfilling the dream of modernization thanks to the economic prosperity they had attained. After the Exhibition, the nobility and especially the middle class wanted to move to the Eixample, the new urban development space created by tearing down the walls of the city in order to gain more space, where they would take residence and commission the construction of spectacular works of architecture.
Due to the socio-political conditions in Catalonia between the end of the 19th century and the beginning of the 20th century the Moderniste movement reached level unlike anywhere else in Spain. Notwithstanding, it would be an error to assume that Modernism solely took place in Catalonia, as it also played an important and varied role in Spanish cities a Madrid, Valencia, Zaragoza and Melilla, among others.
The Teresian College Source: https://www.skyscrapercity.com/threads/mijn-gaudi-tour.1454769/#post-85122212
Casa Mila. Source: Source: https://www.barcelo.com/guia-turismo/en/barcelona/things-to-do/casa-mila/
Since 1906 Eugeni d’Ors, Catalan writer, essayist, journalist, philosopher and art critic, pioneered the term Noucentism through publication of a collection of writings published between 1907 and 1911 that set the aesthetic and cultural ideals advocated by the new movement, characterized by an adamant rejection of anything related to Modernisme. Despite these dates, however, Modernisme cannot be placed within an exact time period given that works displaying a distinct Modernista style continued to be built after 1906, including Antoni Gaudí renowned Casa Milá.
In this artistic milieu was Antoni Gaudí born in Reus, Tarragona, Spain in 1852. Son of a working-class family, he manifested his passion for art from a very young age. In 1873 he began his architectural studies at the Barcelona School of Architecture. The need for financial means to pay for his studies led him to work as a drafts in various workshops. Through his years as a student, Gaudi executed a number of designs and worked with renowned architects such as Francesc de Paula del Villar whom he aided in designing the sanctum and apse of the Montserrat monastery. He finished his architectural education in Madrid, finishing his studies in 1876. From then on he would design and build a vast number of works. Ever since his early years as a professional he demonstrated the attributes of a well-rounded artist. His are works as diverse as lamppost in Barcelona, furniture design, wrought iron, wood and glass display cabinets for gloves in the Paris Exhibition and a flower stand.
Teresian School Entrance. Source: http://www.gaudidesigner.com/es/autres-realisations-colegio-de-las-teresianas-1888-1890—barcelona—a.gaudi_575.html
Gaudí’s extravagant style was surprisingly well received by Catalan society. In fact the architect undertook commissions for the Catalan bourgeoisie (Vincens, Calvet, Batlló and Milá and in some cases recently ennobled families such as the Güellls) who accepted his creations with a certain stoicism, as did the masses of Chistian devotees in their support of the colossal Sagrada Familia temple in Barcelona. It is also surprising that some of his commissions would take Gaudí to places so distant from his Catalan personality deep into Spain, such as Comillas (Santander). Leon or Astorga. However, they all had some sort of Catalan connection; in Astorga, for instance, the project was commissioned by the Catalan bishop that presided over the diocese of Leon.
The Terisian College, Gaudis first major work. Source: https://irbarcelona.org/barcelona-famous-buildings/collegi-teresianes/
Antoni Gaudí who always practised his profession independently and never worked as a public servant, never received any awards or honors by any academy, nor did he participate in any political organization. He was a magnificent artist, unclassifiable and always astonishing who exercised his craft with an extreme precision, a result of a fevered imagination. It is the result of this imagination that, even today, almost 100 years after his death, he continues to be regarded as one of the main attraction of Barcelona, the city that contains the most and best examples of Antoni Gaudí’s spectacular and creative work.
Casa Batlló. Source: https://www.timeout.com/barcelona/art/gaudi-barcelona-nine-of-the-architects-greatest-hits
Not given to writing about his esthetic preferences, he is known to have published only one article in 1881. During the late 1870s he met Eusebi Güell, who over the years would become his perfect patron, giving him total freedom in designing and executing the projects he was commissioned. Gaudi’s connection with both the bourgeoisie and the Catholic Church were of paramount importance for his long career, whose major masterpieces are a reflection of those relationships. His religious education and close friendship with clergymen and bishops from various cities helped create an impeccable Christian image of him.
In 1882, the first stone of the Sagrada Familia temple was laid. At that time, the young Gaudi was not yet associated with the project, although one year later he was commissioned to perform a study of the columns in the crypt. The first author of the project was Francesc de Paula del Villar, Gaudi’s teacher in the School of Architecture. Del Villar supervised the construction as far as the capitals of the crypt, after which abandoned the post due to a disagreement with the foreman over technical aspects of the project. On 3 November 1883 Gaudi was named the new supervisor of the construction of the Sagrada Familia. The young architect was barely thirty years old and would stay with this project until the end of his life.
The temple, when finished, will have 18 bell towers: one representing Christ, one for the Virgin Mary, four for the evangelists and 12 for the apostles.
Antoni Gaudí who always practised his profession independently and never worked as a public servant, never received any awards or honors by any academy, nor did he participate in any political organization. He was a magnificent artist, unclassifiable and always astonishing who exercised his craft with an extreme precision, a result of a fevered imagination. It is the result of this imagination that, even today, more than 100 years after his death, it continues to be regarded as one of the main attraction of Barcelona, the city that contains the most and best examples of Antoni Gaudí’s spectacular and creative work. Gaudí rarely drew detailed plans of his works, instead preferring to create them as three-dimensional scale models and moulding the details as he conceived them.
Inside the Sagrada Familia. Source: https://www.atlasobscura.com/places/sagrada-familia
Presented is a handcrafted 11″ x 14.25″ Zine (the same aspect ratio as a 8.5″ x 11″). This 6 page, handmade zine discusses the typefaces Johnston Sans & Gill Sans from the 19th century (1913-1930). One cannot present one typeface without mentioning the other. These two typeface are closely interlinked. Johnston, a master calligrapher of the Arts and Crafts Movement was commissioned in 1913 by Frank Pick for Londons Underground Railway.
The purpose of this commission was to assist in the legibility of boards and prevent overcrowding in the rapid underground transit system. This typeface is still today the longest standing corporate typeface in history. It was only introduced with lower case letters and became public access till recently.
Eric Gill, a pupil of Johnston’s, was deeply inspired and influenced by Johnston’s and his work. In 1927 Gill was commissioned to create a sans-serif type that could compete with the up and coming Futura typeface. The defining difference between Johnston Sans & Gill Sans is their original application; as Gill Sans was designed for letterpress. The two sans-serif humanist typefaces do often get mixed up, Gill Sans can often overshadow Johnston, both typefaces are still used for different railway systems in the United Kingdom. Although, Edward Johnston is accredited with the “first humanist sans-serif font” that was based on classical roman capitals.
Edward Johnston, Master Caligrapher source:https://www.theguardian.com/artanddesign/2016/mar/10/edward-johnston-london-underground-typeface-100-years-ditchling-sussex-eric-gillJohnston Sans, source: https://www.theguardian.com/artanddesign/2016/mar/10/edward-johnston-london-underground-typeface-100-years-ditchling-sussex-eric-gillEric Gills early designs, source: https://medium.com/@glennf/that-london-tube-typeface-look-again-8beaf0d89abb
“Johnston, Edward (1872–1944).” The Thames & Hudson Dictionary of Graphic Design and Designers, Alan Livingston, and Isabella Livingston, Thames & Hudson, 3rd edition, 2012.
“Johnston, Edward (1874-1944).” The Thames & Hudson Dictionary of Design Since 1900, Guy Julier, Thames & Hudson, 2nd edition, 2004. Credo Reference,
“Gill, Eric (1882–1940).” The Thames & Hudson Dictionary of Graphic Design and Designers, Alan Livingston, and Isabella Livingston, Thames & Hudson, 3rd edition, 2012. Credo Reference,
Christian Europe from the medieval period to early modern Europe had broad orders of social hierarchy that divided society members into estates which defined the social position of persons within society. They were called estates of the realm or three-estates. The best known system is the French Ancien Regime (Old Regime), a three-estate system which categorized society into groups based on socioeconomic factors like wealth, income, race, education, ethnicity, gender and occupation. The system was used until the French Revolution (1789-1799). The monarchy in France included the king, Louis XVI, and the queen, Marie Antoinette. The system was made up of clergy (The First Estate), the nobility (The Second Estate), peasants, bourgeoisie and urban workers (The Third Estate), the Commoners.
Portrait of Louis XVI by Antoine-François Callet source: https://historycollection.com/16-notable-people-guillotined-in-the-french-revolution/3/
France’s involvement in the American Revolution, along with extravagant spending practices by King Louis XVI and his wife Marie Antoinette left the country on the verge of bankruptcy. War and debt broke the back of the monarchy. By 1788 the French government was bankrupt and a new land tax was proposed to be paid by all. Louis XVI called the Estates General, first since 1614, in hope of helping to advise him on the economical and agricultural crisis that France was facing. The voting system was by Estate and not by heads. Therefore, the deputies of the Third Estate, realized that in any attempt at reform they would be outvoted by the two privileged orders, the clergy and the nobility. They asked the King to allow a heads vote and he denied the request.
The Third Estate did not agree with king’s proposal which was to impose higher taxes on them. The king dissolved the meeting and closed the hall to prevent any further meetings. The Third Estate already paid most of the taxes: tithes to the Church, tax on goods brought to the city, poll tax, income tax, salt tax, land tax, and feudal dues for use of local manor’s winepress, oven, etc. Its deputies decided to call themselves the National Assembly and claimed the right to speak to the nation. They intended to make laws without royal approval. The king closed the hall where the National Assembly was to meet, so they met on a tennis court. On June 1789, the members of the French Third Estate took the Tennis Court Oath, vowing not to separate, and to reassemble wherever circumstances required, until the constitution of the kingdom was established. In the face of solidarity of the Third Estate, King Louis XVI relented and ordered the clergy and the nobility to join with the Third Estate in the National Assembly. An attempt at counter-revolution let them formulate their claims virtually based on privilege and social status. Mirabeau, an ex-noble, told the King that he was a stranger in the Assembly and did not have the right to speak there.
It was an important revolutionary act that displayed the belief that political authority came from the nation’s people and not from the monarchy. This was a pivotal event in the French Revolution. Estates-General ceased to exist and became the National Assembly two years later. Renamed National Constituent Assembly (1789).
French Revolution, 1795 is a painting by Granger. Source: https://fineartamerica.com/featured/1-french-revolution-1795-granger.html
Burdened by heavy taxes imposed by the First and Second Estates and continuous grievances against royal absolutism created a fertile soil for a spontaneous social upheaval that culminated with the storming of the Bastille; a hated prison in Paris where people were routinely held without charges. The fall of the Bastille spread the revolution to the provincial towns and the countryside. This event coincided with peasant attacks to nobles’ castles and general disorder.
Portrait of Marie Antoinette e prisoner in the Temple Tower (attributed to Alexandre Kucharski, c. 1792) Source: https://en.wikipedia.org/wiki/Marie_Antoinette
Poor weather and harvests, and the withholding by police of public grain supplies from the royal stores in 1773-74 provoked a large-scale revolt, known as the Flour War. The price of bread in Paris had increased beyond the ability of many of the poorer residents to buy it. The situation subsided following wheat price controls imposed by Turgot, Louis XVI’s Controller-General of Finances (before the supply recovered), and the deployment of military troops. The combination of a bread shortage and high prices angered many French women, who relied on bread sales to make a living. Paris women’s initially stormed the city hall and then proceeded to march to Versailles, the site of the government. The ultimate goal was to bring King Louis XVI back to Paris where he would be responsible to the people, and to the reforms that had begun to be passed earlier. Thus, they would march to the Palace of Versailles and demand that the king respond. The king was finally convinced to appear before the crowd. The crowd accompanied the royal family back to Paris, where the king and queen and their court took up residence at the Tuileries Palace. Two weeks later, the National Assembly also moved to Paris. All feudal privileges were formally abolished by the Constituent Assembly and the Declaration of the Rights of Man and Citizen was declared its’ formal manifesto.
Title: Marat Assassinated by Jaques-Louis David Source: https://artsandculture.google.com/asset/marat-assassinated/7QGjl9R141MCBw?hl=en-GB(more…)
