The Modern Art Movement in America

The Modern art Movement in America

Modernism was introduced in America in 1913; however it was rejected because of the public protest. In the 1920s America was still using traditional means of illustrations; it was in the 1930s where one could start seeing interest in Modernism in America. The modern approach was slowly gaining influence in design and art forms for example: book design, editorial design, magazines and plenty of other mediums.

A big influence to Modernism in America was Tschichold’s work the “Elementare typographie” which had caused Americans great excitement and “chaos” to society it was a revolution for them, and only a small number of American Typographers and designers had recognized the functionalism of the new ideas.  Futura and Kabel, American’s typefaces which were created in 1928 and 1929 had moved America even closer to the Modernist approach.

These are a few important figures (American Typographers and designs) William Addison Dwiggins, S.A. Jacobs, Merle Armitage and Lester Beall, these were important figures which helped promote Modernism into America; they had recognized the value of the new ideas.

William Addison Dwiggins was a book designer, after two decades in advertising design; he began designing books for Alfred A.Knopf. He experimented with uncommon title-page arrangement and two column formats, stencilled ornaments combined with a sensibility of cubist collage with the grace of traditional ornament. 

  He created eighteen typeface designs, for the following companies: Mergenthaler, Linotype, Caledonia, a graceful text face; Electra (created in 1935) and Metro.

S.A Jacobs and Merle Armitage were typographic expressionists their work ranged from Renaissance inspired designs to books for avant-garde music and dance which aided the modernist design aesthetic in America.

Lester Beall was a self-taught designer, he worked with strong, direct and exciting visual forms, he understood Tschihold’s new typography and the Dada movement random organization, instinctive placement of elements and the use of chance in being creative. He was also influenced and admired American wood types of the nineteenth century. He combined some to his work with these wood works for a certain period of time. Beall wanted visual contrast and high level of informational content. Beal eventually moved back home to Dumbarton Farms in Connecticut bringing along his studio (Which was in New York City) Beall became more involved in the emerging corporate design movement of the 1950s and 60s.

It seems he is highly inspired by the American colours, noting the images of Red,blue and white, he loves the use of contrast in his poster, and informative designs, very simplistic and flat designs, it feels like there is barely any depth, but simplicity was and still is a major thing, considering the time of the design it is impressive and intriguing to see the use of his mixture of techniques. 

Reference:

Anon, Modern Movement in America [online], available at: http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/Lecture09/ModernMovementAmerica2.html , [accessed 9^th December 2013]

Anon, Lester Beall [online] , available at: http://www.lesterbeall.com/architectonic.shtml, [accessed 9^th December 2013]

Design is history, Lester Beall [online], available at: http://www.designishistory.com/1940/lester-beall/, [accessed 9^th December 2013]

Meggs P. B. and Purvis A. W. 1998. 5th Edition. Hoboken, New Jersey: John Wiley & Sons , Inc.