Category Archives: Art

Art Posts

Standards of Design


• Design must be considered as an integral part of an organization.

• Design must perform in response to human needs.

• Design is a requirement–not a cosmetic addition.

• To not design is to suffer design by default.

• Design can save money (reduce labor, materials, production).

• Design can save time (presents information more clearly).

• Design enhances communication (accelerates learning/acceptance).

• The absence of design is hazardous!

• Design is the transmission of information and ideas by visual means.

• Design is a persuasive tool.

• It is the designer’s business to recognize, plan, and stimulate coming trends.
• Good design will meet the pressures of expanding technology, commercial competition, and the
   demands of a fast-changing existence.

• Design is the organization of materials and forms in such a way as to fulfill a specific purpose.

• Good design persuades.

• Design relates objects/organizations to people.

• Design is a means for improving safety and efficiency.

• Design creates alternate solutions for each problem.

• Design involves affecting an audience.

• Good design gets positive responses to visual messages.

• Good design is aware of basic marketing concepts and how they affect visual imagery.

• Effective design is fresh, innovative, and is concerned with details.

• Design provides a client or consumer with a basis for selection.

• Every time a customer makes a selection, he/she exercises judgment in matters of appearance,
   function, and a perceived value to him/her.

• An emphasis on appearance provides a clue to your personality and financial resources.

• Image cannot be divided into categories, but must be recognized as the result of the combination
   of perceptions and associations.      

On: Balance

“Objects are immediately seen as having a certain size as well as having a location in space.  No object is seen as being unique or isolated.  A scale of size, a scale of brightness, or a scale of distance is always present in the total visual/perceptual field.”

“To be seen, an object must be assigned a place in the whole. Perception involves not only the placement of objects, shapes, colors, etc. but an interplay of directed tensions.  These tensions are not created by the viewer but are inherent forces within the image.”

“Balance is a state wherein the forces acting upon an object compensate for the presence of each other.  A pure state of balance causes all action to cease.”

“Balance does not require symmetry.”

“The properties of weight and direction are always dynamic.”

“Weight depends on a location or visual composition.  Strong compositions support more visual weight than weak or off-center compositions that do not respect the natural horizontal/vertical grid structure of any visual field.”

“Perception may be influenced by the viewer’s intrinsic interest in an image, or by the viewer’s hopes, fears, and knowledge.”

“We live in a space where dynamics vary with direction.  Top and bottom seem to mean more to us than right or left.”

“Moving away from the center of gravity requires work.”

“In a visual system, weight and direction cause movement, or a state of imbalance that must be stabilized in order to bring the system back to equilibria.”


Le Corbusier: Promoter Of The Modern Age

Charles Edouard Jeanneret, known as Le Corbusier {luh kor-boo-zyay’}, b. La Chaux-de-fonds, Switzerland, Oct.  6, 1887, d.  1965, was a Swiss-French architect who played a decisive role in the development of MODERN ARCHITECTURE.  He first studied (1908-10) in Paris with August Perret, and then worked (1910) for several months in the Berlin studio of industrial designer Peter Behrens, where he met the future BAUHAUS leaders Ludwig Mies van der Rohe and Walter Gropius.  Shortly after World War I, Jeanneret turned to painting and founded, with Amedee Ozenfant, the purist offshoot of cubism.  With the publication (1923) of his influential collection of polemical essays, Vers une architecture (Towards a New Architecture, Eng.  repr.  1970), he adopted the name Le Corbusier and devoted his full energy and talent to creating a radically modern form of architectural expression.

In the 1920s and ’30s, Le Corbusier’s most significant work was in urban planning.  In such published plans as La Ville Contemporaine (1922), the Plan Voisin de Paris (1925), and the several Villes Radieuses (1930-36), he advanced ideas dramatically different from the comfortable, low-rise communities proposed by earlier garden city planners.  During this 20-year span he also built many villas and several small apartment complexes and office buildings.  In these hard-edged, smooth-surfaced, geometric volumes, he created a language of what he called “pure prisms”–rectangular blocks of concrete, steel, and glass, usually raised above the ground on stilts, or pilotis, and often endowed with roof gardens intended to compensate for the loss of usable floor area at ground level.

After World War II, Le Corbusier moved away from purism and toward the so-called New Brutalism, which utilized rough-hewn forms of concrete, stone, stucco, and glass.  Newly recognized in official art circles as an important 20th-century innovator, he represented (1946) France on the planning team for the United Nations Headquarters building in New York City–a particularly satisfying honor for an architect whose prize-winning design (1927) for the League of Nations headquarters had been rejected.  Simultaneously, he was commissioned by the French government to plan and build his prototypical Vertical City in Marseilles.  The result was the Unite d’Habitation (1946-52)–a huge block of 340 “superimposed villas” raised above the ground on massive pilotis, laced with two elevated thoroughfares of shops and other services and topped by a roof-garden community center that contained, among other things, a sculptured playground of concrete forms and a peripheral track for joggers.

His worldwide reputation led to a commission from the Indian government to plan the city of CHANDIGARH, the new capital of the Punjab, and to design and build the Government Center (1950-70) and several of the city’s other structures.  These poetic, handcrafted buildings represented a second, more humanistic phase in Le Corbusier’s work that also was reflected in his lyrical Pilgrim Church of Notre Dame du Haut at Ronchamp (1950-54) in the Vosges Mountains of France;  in his rugged monastery of La Tourette, France (1954-59);  and in the several structures he designed (from 1958) at Ahmedabad, in India.  Le Corbusier accidentally drowned in a swimming accident off Cap Martin in the Mediterranean on Aug.  27, 1965.

Dada: Merz (“something cast-off, as in junk”)

Dada was an international, avant-garde art and literary movement that flourished between 1915 and 1922. The Dadaists’ declared purpose was to protest the senseless violence of World War I, which they believed had made all established moral and aesthetic values meaningless. The term itself means “hobbyhorse” in French and was supposedly chosen at random from the dictionary. Dada promulgated anti-art and non-sense, declaring that art did not depend in any way on established rules or on craftsmanship;  the only law was that of chance, and the only reality that of the imagination. Dada is often viewed as nihilistic, but it can also be seen as a kind of thoughtful irrationality, a way toward liberation achieved by penetrating into the unknown regions of the mind. Dada appeared nearly simultaneously in Zürich, New York City, and Paris, and soon took hold in Germany.  It finally concentrated in Paris.

In Zürich, where political exiles of all kinds took refuge during World War I, Dada was initiated by Hugo Ball, a German actor and playwright;  Jean Arp, an Alsatian painter and poet; Richard Huelsenbeck, a German poet; Marcel Janco, a Romanian artist; and Tristan Tzara, a Romanian poet.  Together they founded the Cabaret Voltaire – a theater, literary gathering place, and exhibition center. They offered scandalous and mysterious entertainments, lectured, and exhibited together a variety of artists such as Arp, Giorgio de Chirico, Max Ernst, Wassily Kandinsky, Paul Klee, and Pablo Picasso. Arp illustrated the works of Huelsenbeck and Tzara, and created a new type of collage by tearing pieces of colored paper and arranging them according to chance.  In 1918, Tzara wrote the manifesto for the movement.


Marcel Duchamp, who in 1915 had moved to New York City and in the same year coined the term “ready-made,” was the chief anticipator of Dada.  For his ready-mades, Duchamp took mundane objects such as snow shovels, urinals, and bottle racks, gave them titles, and signed them, thus turning their context from utility to aesthetics. Duchamp also invented word games, made an abstract film, and edited several reviews in the United States from 1913. His friend Francis Picabia worked with him and with Man Ray in New York on the Dada Review 291; Picabia founded the Dada Review 391 in Barcelona in 1917.

In 1919 Max Ernst launched Dadaism in Cologne with his friend Arp. Ernst’s type of collage technique was an important contribution to the Dada cause, as was the collage-painting of Kurt Schwitters, the chief figure of Dada in Hanover, Germany, who called Dada Merz, “something cast-off, junk.” Dada emerged as a group activity in Paris when a Dada salon opened at the Montaigne Gallery in 1922.  Dada has had a long and significant influence in art to the present time, and was the subject of a major exhibition at the Los Angeles County Museum of Art in 1989. Dada found literary expression in France–principally in the form of nonsense poems and random combinations of words–with the writings of Louis Aragon, Andre Breton, and Paul Eluard. They founded the revue Littérature in 1919;  it was published until 1924. These writers soon abandoned the Dada movement, however, and turned to Surrealism.

 R. Mutt Was Here 1917

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