What artist’s works, since his emergence in the late 1960s, primarily refer to subjects drawn from Germany and its culture?
What font designer created a total of 116 fonts and published 59 literary works?
Answers here~ https://schristywolfe.com/2015/03/08/march-8/
This painter lived during the Sengoku period and was the 5th head of the Kano school.
In 1818 this designer’s widow completed and published her late husband’s “Manuale Tipografico” in two volumes.
Answers here~ https://schristywolfe.com/2015/02/16/february-16/
Charles Rennie Mackintosh (7 June 1868-10 December 1928) “was a Scottish architect, designer, water colourist and artist. He was a designer in the Post-Impressionist movement and also the main representative of Art Nouveau in the United Kingdom. He had considerable influence on European design. He was born in Glasgow…”
“Mackintosh was apprenticed to a local architect John Hutchison, but in 1889 he transferred to the larger, more established city practice of Honeyman and Keppie.
To complement his architectural apprenticeship, Mackintosh enrolled for evening classes at the Glasgow School of Art where he pursued various drawing programmes.”
“The majority of Mackintosh’s architectural practice was supported by his wife Margaret Macdonald with whom he had studied at the Glasgow School of Art. Her mind was often responsible for the artistic flourish that became so integral to the aforementioned Mackintosh Rose motif. In his time as a professional architect, Mackintosh worked with his wife to design buildings ranging in use from residential, to commercial and religious.”
“Despite success in Europe and the support of clients such as Blackie and Cranston, Mackintosh’s work met with considerable indifference at home and his career soon declined. Few private clients were sufficiently sympathetic to want his ‘total design’ of house and interior.
A move to the South of France in 1923 signalled the end of Mackintosh’s three-dimensional career and the last years of his life were spent painting. He died in London on 10 December 1928.”
Design Museum~ https://designmuseum.org/designers/charles-rennie-mackintosh#toggle-submenu
Charles Rennie Mackintosh Society~ https://www.crmsociety.com/
© M.T. Abraham Center – Provided by copyright owner of both photograph and artwork, CC BY 3.0
Herbert Bayer (1900-1985) is one of the individuals most closely identified with the famous Bauhaus program in Weimar, Germany. Together with Walter Gropius, Laszlo Moholy-Nagy, and Wassily Kandinsky, Bayer helped shape a philosophy of functional design that extended across disciplines ranging from architecture to typography and graphic design. Endowed with enormous talent and energy, Bayer went on to produce an impressive body of work, including freelance graphics commissions, Modernist exhibition design, corporate identity programs, and architecture and environmental design…Though Bayer came to the Bauhaus as a student, he stayed on to become one of its most prominent faculty members.
Collection at MoMA~ http://www.moma.org/collection/artists/399
New York Times Obituary~
By 1945, Tschichold had gained fame in the typographic world for the books he designed, as well as those he wrote, altogether an impressive list. His beautiful work and impeccable craftsmanship made him the logical choice when Allen Lane wanted somebody to develop an orderly system of design for his Penguin Books.
Tschichold combined a series of grids with a set of rules of composition and forced their acceptance by a reluctant, sometimes rebellious, printing craft. His perseverance served to inspire tremendous improvement in the quality of all British books, as his techniques were admired and imitated.
Returning home, Tschichold picked up his career as book designer and typographical consultant for publishing and business. Along the way, he developed Sabon, the first typeface to be identical in appearance in Linotype, Monotype and hand composition.
The New Yorker debuted on February 21, 1925 — and its cover was graced with the first of many appearances by the magazine’s mascot Eustace Tilley. The illustration was by Rea Irvin (1881-1972), the man responsible for the eternal look of The New Yorker right down to designing the logo typeface, named “Irvin” for its creator.
In 1924, Irvin joined an advisory board to help launch The New Yorker. For the cover of the magazine’s debut issue the next year, Irvin created Eustace Tilley, a smartly attired dandy with a monocle and top hat. This amusing and worldly, yet somewhat detached, character embodied the spirit of the new publication. Tilley quickly became Irvin’s signature piece and has reappeared on the magazine’s cover every year since, with one exception–1994.
Between 1925 and 1958, Irvin’s work appeared on 169 covers of The New Yorker. Hundreds of other illustrations by Irvin were also published inside the magazine. http://www.tfaoi.com/aa/1aa/1aa398.htm (dead link)
Irvin had been art editor at Life, and Ross trusted
his taste, which—as others have noted—in turn shaped his
own. Ross biographer Dale Kramer describes his influence: “[Irvin]
had a quick, accurate eye for good craftsmanship. More important, he
knew what changes were necessary to make mediocre work passable and
passable work better.” Born in San Francisco, Irvin had worked as
a newspaper illustrator, stage and screen actor, comic strip artist, and
piano player before arriving at Life. Irvin’s diversity of
aesthetic experience was as essential to his invention of The New
Yorker’s visual style as Ross’s vagabond generalism was
to his conception of the subject matter. http://www.printmag.com/article/everybody_loves_rea_irvin/