Nieuwe Wandplaten, 14, [1926]
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 Material Information
Title: Nieuwe Wandplaten, 14, 1926
Physical Description: Book
Language: English
Creator: Cornel, Weibe ( designer )
Smits, K.A. ( joint designer )
N.V.H. ten Brink's Uitgevers Maatschappij (Arnhem, Netherlands) ( printer )
Verzamelcommissie ( publisher )
Publication Date: 2009
Subjects / Keywords: Lithographs -- Color -- 1920-1930   ( lctgm )
Posters, Dutch -- 1920-1930   ( lcsh )
Graphic arts -- Study and teaching -- Netherlands -- Arnhem   ( lcsh )
Art deco -- Netherlands   ( lcsh )
Genre: conference publication   ( marcgt )
festschrift   ( marcgt )
comic strip   ( marcgt )
Posters   ( aat )
Abstract: Ink on paper poster depicting an abstract, stylized flower in autumn colors. Blossom is brown, ochre, and ivory. The background is depicted with vertical stripes of black, red, ivory, ochre and ivory text reversed on dark brown border.
General Note: Appears stable.
General Note: As exhibited in "Modern Dutch Posters", May 14-December 31, 1996: Poster, "Nieuwe Wandplaten 12" (New Wall Poster 14), 1926 / Designed by Weibe Cornel and K. A. Smits (Dutch, dates unknown) / Printed by N.V.H. ten Brink's Uitgevers Maatschappij, Arnheim, The Netherlands / Published by Verzamelcommissie, The Netherlands / Commerical color lithograph / TD1989.290.12 / Wiebe Cornel, an art teacher at the technical day school in Utrecht, published the teaching guide, "Decorative Techniques, a Manual for Technical Day and Evening Schools," (1925) that demonstrated the design philosophy behind many of these posters. According to the text, decorations and motifs should be inspired by nature - flowers, animals, or seashells. In the art lesson, students would learn to translate these natural forms into abstract, geometric patterns. This teaching method of styling natural forms was not new. As early as 1850's in England, design reformers advocated the direct study of nature and rejected as useless the long tradition of copying the "antique." nature was not to be copied exactly, but had to be "conventionalized," because, as one leading English reformer declared, "Decorative art is degraded when it passes into a direct imitation of nature." Design assumed a moral imperative. For example, the teachers believed that naturalistic or three-dimensional designs for flat surfaces were especially dishonest because painted walls (wallpaper or textiles) are, by nature, two-dimensional and should be rendered in that way.
 Record Information
Source Institution: The Wolfsonian-Florida International University
Holding Location: The Wolfsonian FIU Library Collection ( AX 3Fl ff 3PF9 B )
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: accession number - TD1989.290.14
eos.web - 22010
System ID: WOLF003006:00001

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