New Objectivity1 Peter Behrens 3

2 New Objectivity 20

3 Plakastil 31

4 The Vienna Secession 40

5 Conclusion 66

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Peter Behrens1868–1940

The German artist, architect, and designer Peter Behrens played a major role in charting a course for design in the first decade of the new century.

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1868–1940

An early advocate of sans-serif typography, he used a grid system to structure space in his design layouts.

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1868–1940

An early advocate of sans-serif typography, he used a grid system to structure space in his design layouts.

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1868–1940

An early advocate of sans-serif typography, he used a grid system to structure space in his design layouts.

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1868–1940

He has been called the first industrial designer because he designed manufactured products such as streetlamps and teapots.

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His streetlamps and teakettles have simple forms shorn of decoration, with connotations of social class and wealth stripped away.

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1868–1940

Behrens sought neutrality and standardization in product designs for machine manufacture.

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1868–1940

Behrens sought neutrality and standardization in product designs for machine manufacture.

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1868–1940

Behrens sought neutrality and standardization in product designs for machine manufacture.

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1907-1914

His work for AEG is considered the first comprehensive visual identification program.

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1907-1914

The AEG graphic identity system made consistent use of four basic elements:

• logo

• Typeface

• layout

• Support graphics

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New Objectivity1900–1910

Artists and designers strive to create a down-to-earth method of creating graphics and depicting life. It was a state of mind that rejected Victorian romanticism and Art Nouveau stylization.

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ObjectivityThe state of being true despite individual biases, interpretations, feelings, and imaginings.

Impartiality, absence/lack of bias, absence/lack of prejudice, fairness, fair-mindedness, neutrality, evenhandedness, justice, open-mindedness, detachment, dispassion

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ObjectivityThe state of being true despite individual biases, interpretations, feelings, and imaginings.

Impartiality, absence/lack of bias, absence/lack of prejudice, fairness, fair-mindedness, neutrality, evenhandedness, justice, open-mindedness, detachment, dispassion

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1894–1899

The Beggarstaffs, otherwise J. & W. Beggarstaff, was the pseudonym used by the British artists William Nicholson and James Pryde for their collaborative partnership in the design of posters and other graphic work between.

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Plakastil1906

The reductive, flat-color design school that emerged in Germany early in the twentieth century is called Plakatstil (Poster Style).

1906

Plakatstil was primarily a poster style of art originated by Berliner lucian Bernhard.

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1906

Plakatstil shied away from the complexity of Art Nouveau and helped emphasize a more modern outlook on poster art.

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Bernhard’s sweeping contribution to the Plakastil movement was a poster for Priester matches, which reduced communication to one word and two matches.

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The traits of this style of art are usually simple, yet bold, typographic statements with flat colors.

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Shapes and objects are simplified while there is a central image which is the focus of the poster.

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The Vienna Secession1897

The Vienna Secession was formed by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Kunstlerhaus.

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The movement was championed by Gustav klimt and included painters, sculptors, and architects.

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1898

in the first Vienna Secession exhibition poster, set an unprecedented use of negative space in the graphic arts.

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1898

klimt referred to Greek mythology, showing Athena, goddess of the arts, watching Theseus deliver the deathblow to the minotaur.

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Preference for simplified lettering and tightened linear forms differentiates Secession work from Art Nouveau inspirations.

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1898–1903

Ver SacrumThe experimental publicaiton Ver Sacrum, perpetuated the ideology and artistic efforts of the Secessionists.

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1898–1903

Ver SacrumThe experimental publicaiton Ver Sacrum, perpetuated the ideology and artistic efforts of the Secessionists.

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Vienna Secession artists rejected the French floral style, they turned toward flat shapes and greater simplicity.

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koloman moser was the movement’s most influential new graphic designer, with imposing colorwork and gemetric tiling pattern.

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1864–1935

Alfred Roller• Secession co-founder

• Ver Sacrum co-founder

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1864–1935

Alfred Roller• Secession co-founder

• Ver Sacrum co-founder

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Conclusion

Although mucha resisted the label of Art Nouveau, maintaining that art is eternal and could never be “new.”

–m EG G S

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