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of Bauhaus This essay on the reception was and itsenvironmentinFrance typography originally published inFrenchunderthe title & Graphisme:Dissemblances, "Typographie Dissonances... Disconvenance? La Franceen Marge de laR?volution Typographique" inLe Bauhaus et la France, 1919-1940, edited by Isabelle Ewig,ThomasW. Gaehtgens, and Akademie Verlag/ Matthias Noell (Berlin: Centreallemand d'histoirede l'art, 2002), of essays inFrench 163-188. [Collection or German].See Roger Ch?telains review, "Pr?cieux?clairages sur 'le Bauhaus et la Monatsbl?tter3 France,'" inTypograf?sehe (2003): 5-8. byJohnCullars. Englishtranslation
[...]for
all graphic
abstractions
converge.
began
towrite, what
sort
been thepoint ofdeparture you will see its secretbecome for ITake a letter: its where you will find associations [...] [...] throughout deeper infinite
everything, the whole world: its history, yours.
of games
has
art, abandoned
by
our
grand
culture.
make language visible, Previously used above all as a medium intendedto own visual and thepossibility revealed its disclosed qualities typography
of an and, a specific expression. isolated infact, event: [...] moreover, the typographical of a new of a cultural revolution was not it took up the cause socio-political consciousness
accompanied
thefoundation
renewal.
Roland Barthes, "Ert?ou A la lettre"in M. Ricci, 1972), after En? (Parma:F. wards cited in: uvres completes (Paris: Eds. du Seuil, 1993-), vol. 2, Paris 1994, 1222-1240; 1228 and 1231 forthe first citation, 1239 forthe second.
choices [of theBauhaus] [...] appear as unique and [...] the typographical in [...] thenew typography[...] revolutionary thehistoryof typography.
is anchored medium relations Herbert in a new conception of technology, in its own functions role, and as a in its for communication, in its social and humanistic
HerbertBayer, "OnTypography" (1967), cited in Arthur Cohen,Herben Bayer MIT Press, 1984), (Cambridge/London: 350-352, and 350; and forthe second and citation,HerbertBayer, "Typography Design at the Bauhaus" (1971), cited in Cohen (1984), 352-354, and 352.
what may France [...] did not play a vital part in And it iswell known that
well be called the "typographical revolution/' related to the movement known as the Bauhaus.
Roger Ch?telain3 As the visual inscription of language and the imprint of thought, are overlooked by thewhole typography conceals the stakes that
state of existing in a singular world, warily loaded with meta-mean
Roger Ch?telain, "Si l'?cole Estienne m'?tait cont?e..." inTypografische Monatsbl?tter/RevueSuisse de 3:2001:10-11. l'imprimerie Itshould be noted thatRoger Ch?telain, of the journal former Editor-in-Chief Monatsbl?tter/Revue Typografische endeavored to Suisse de l'imprimerie, on Franco-German throw light relations some intypography, notably launching out disagree broadsides and pointing ments inthe journal.
question of design. Roland Barthes's epigraph well expresses that ings. That knowledge of the fundamental nature of the letter and the forces atwork in itpermit a view of typography in thework of
artists other from than the first decades a radical Doubtless, to express scene aesthetic of the twentieth phenomenon first of all and out appreciate century exciting consider the as something or fascination the
frenzied of
that was
quite
of the ordinary.
With
? 66
was able to imbue temporal situation and its goals, the Bauhaus itself with European "isms" and set itselfup as an experimental laboratory. Typography, graphics, and photography experienced visible developments therewhich were indissoluble from their Weimar Republic. Carried away exceptional floweringwithin the of and the universality by a communicational ideal, these utopia by
practices 4 IntheNetherlands, theUSSR, Poland, and Czechoslovakia; then in Germany, Switzerlandand Italy. 5 had signifi De Stijl and constructivism as on the cant repercussions in Germany, Bauhaus. Beginning in 1922,Th?o van Doesburg proposed De Stijl courses at Weimar,which were attended bymost of the studentsof the Bauhaus. Elsewhere, was held Russian artexhibition the first inBerlin in 1922. 6 7 Bauhaus 2:3 (1928): 29. See also note 40. Far from theBauhaus's ambitionfor one findsthe expres internationalization, sion of typographical nationalism in with RudolfKoch, Fritz Helmut Germany Ehmcke,and evenwith Paul Renner. Hans Peter See Koch, cited in Willberg 's "Fraktur and Nationalism" inPeter Bain and Paul Shaw, Blackletter:Typeand National Identity (Hew York:Princeton Architectural Press, 1998),40-48, 43: "Germanscript is likea symbolof the inherent mission of theGerman people who, among all civilized races,must [...] act as a living model and example of itsunique, distinctive, and nationalistic character inall manifestationsof life." Yvonne Schwemmer Ehmcke,cited in Scheddin's "Broken Images" in Willberg Gothic (1998), 50-67, 59: "Just like design inotherarts,Gothic lettering wherever virileGerman appears primarily manhood issymbolizedby fighting, creat ingnationsand building.";Renner,cited inRogerCh?telains "Paul Rennersous les feuxde l'histoire"inTypografische Monatsbl?tter/RevueSuisse de 5 (2000): 9: "Each people l'imprimerie [...]has the typefacethat itdeserves [...]. not Andwhat should our typefacebe if the expression of the true,the authentic German soul?" 8 An important world of typog figureinthe was in Francis Thibaudeau France, raphy incharge of compositionservices at the He pennedmany classic Peignot foundry. works on typography. the heart activities.4 became the object of an unprecedented of strong and craze throughout shared of Europe, Thus, many to the rhythm external constant
dynamics
sprang
in the early
spread well beyond theborders of Central andWestern Europe?the was a slogan displayed in "Come and study at the bauhaus!" [sic] a eight languages, including French {"venez ?tudier Bauhaus\"[sic\) in
the school's Off journal.6 to the side of that Central European effervescence spread typographers themselves were dreaming of transnational forms.
experiments
with
certain
reserve.
Was
it
straightforward
died on the battlefield during World War I, and Cassandre's elder brother,Henri, died in 1914 at the very beginning of thewar?the
ascendancy of Germanophobia, and visceral nationalism. In France,
yesterday's
enemy?"the
four Peignot
brothers,"
important names
Thibaudeau explained
style
one must
elegance
Thibaudeau
published
de typographie
moderne [French Manual of Modern Typography] in 1924. There also was Marius Audin's Le Livrefran?ais [TheFrenchBook] in 1930.At the
same time, in the east, beyond in the same upon "Latin typography national vein: graphic largely was Other Vox and and considered French Ladislas writing." in terms fragments, Mandel Charles of exchanges later but calling boundaries. Maximilien arts"
"Latin
Peignot evoked "the glory of French typography." Vox again: "The typographic fireworks [in France] that illuminated the 1920s and 30s." In a work published in 1982, Georges Bonnin, then director
of the Imprimerie upon a new Nationale, and envisioned illustration' "a constructive typography." reflection Lure's 'defense of French
Rencontres internationales [InternationalEncounters] would publish de la typographie D?fense et illustration fran?aise [Defenseand Illustration ofFrench Typography] (conference papers
on as by if the word the epithet "typography" "French." From
went
in France
qualified
chronic isolationism was born, leading tominimal exchange across the French-German border. Why did such a situation exist when or Poles spread so readily? The geopolitical situation and relations
with many make Germany Dutch, much can Russian, of a splash only partially or Czech in France. explain graphic the phenomenon, also did since not innovations exchanges among the Soviets, the Dutch, the Hungarians, Germans,
Big Deviations and Little Echoes A comparative survey of theprincipal figuresof graphic design and typography in France and inGermany between the twoworld wars
shows artists, arts a strong disproportion poster makers, and marked typographers, divergences. or those Graphic in the fine At the designers, very
followed
different
trajectories
in the two
countries.
Bauhaus, three figures distinguished themselves by their teaching as much as by theirpractice: L?szl? Moholy-Nagy, Herbert Bayer,
and Joost Schmidt. Let us mention in passing some of the numerous
and
in
involved and
communication,
directed
the metal
sculpture
counted
hand,
posters. Mouron
Jean-Marie
Colin?and
Charles
Maurras's
Maximilien Vox (thepseudonym of Samuel Monod, who published L'Avenir de l'Intelligencefran?aise [The Future of French Nouveaux Destins de l'Intelligence fran?aise).13 Intelligence] in 1942 in
The French and German typographical scenes seem to have
experimental type fonts by Cassandre and founded the journal Arts et M?tiers graphiques [TheArts and Graphic Professions] in 1927.12 The foundry particularly benefited from the active contributions of
publications).11
Charles
Peignot,
who
the
the French
discovered
the Bauhaus
and German
Their receptionwas enthusiastic.Many publications now forgotten testifyto this. In 1929, Cassandre published an edifying panorama of European avant-garde publicity that reflected the "new typogra u were by phy." Of the forty-ninedocuments included, seventeen in them Germany; among Moholy-Nagy, artist-designers working
Bayer, Included 14 See A. M. Cassandre, Publicit? (Paris: CharlesMoreau, 1929) (L'Artinterna tionald'aujourd'hui,vol. 12). 15 Inhis introduction, Cassandre underlines the new presence of publicity:"The has barelybeen languageof publicity born,but ithas been born. [...]The goal of this work isnot to give a complete ?mage of contemporaryinternational public We have simplytriedto gather [...] ity. togethersome of themost representative works thathave come our way." 16 His articledoes not specifya visit to the but LionelRichardspecifies institution, inhis Encyclop?diedu Bauhaus (Paris: Somogy, 1985),247, that "Charles Peignot [...]visited the school."Moreover, document6-F-0073-77,preserved inthe Stiftung Bauhaus Dessau, Nachlass Mies van der Schriftenarchiv, Rohe,mentions Peignot's visit,among We those of otherFrenchmenin 1931/32. thankElke Mittmann forthis information. 17 Charles Peignot, "L'enseignement profes sionnel," Vu (L'?nigme allemande) 213 (1932): 546-548 and 580. 18 FernandBaudin reports that Maximilien Voxwas ina position to pressureCharles Peignot to go to Frankfurt concerning the purchase of the rights forFuturaat See RogerCh?telain, theBauer foundry. "R?actions relatives? Paul Renneret au Futura,"Typographische Monatsbl?tter/ 1 (2001 ): Revue Suisse de l'imprimerie 14-16. 19 Maurice Thireau, L'Art Moderne et la Graphie (Paris:Bureau de l'Edition, 1930), 101-102. The publisherof this also work, Le Bureau de l'?dition, published FrancisThibaudeau's La Lettre See below. d'Imprimerie. 20 See Jan Tschichold,"Qu'est-ce que la et que veut-elle?" nouvelle typographie Arts etM?tiers graphiques 4 (1930): 46-52. examples illustrated Austria, one-third certainly Tschichold, were Baumeister, posters, art being Great was ads, applied done Britain, Molzahn, covers, Dexel, photomontages, Other and Burchartz. and even
of graphic what
Czechoslovakia,
Switzerland,
the United
States. More
examples measure
of what
there since the late 1920s. His publication, which consisted mainly
of a collection of images, limited prose explications to a brief intro
duction.
Cassandre; of it.)15 The Charles
available
advantage
to
second who
somewhat Gropius,
later. went
Peignot,
reservations. production
concluded in France.
of type
and course.
not prevent
which
of the French.
ismore
evidence
typography
appreciated made
at that time.
Thireau so-called
'elementary'
is the
who France.
In France,
'elementary'
its appearance,
Want?"], which was adorned with Typography and What Does It of works reproductions by Moholy-Nagy, Lissitzky, Tschichold,
D?mela, etc.20
Also in 1930, Cahiers d'art made the case for "a school of modern art,"where "there are classes on publicity (J. Schmidt) [and] on photography (Peterhans)."21 In 1929, the same journal published an article byMoholy-Nagy, illustratedby his photographic investiga
tions. Itmentions, in passing, for Cezanne's of Cahiers the influence work22, of cubism. Renner). (He expresses in the of the an admiration same number as does Later, editor
is a young where he
at Dessau,
typography, diverse
in Paris."23 around
testimonials
aware well
1929-30
in Dessau?as none
as Central
European
Typography. explanation of
of the publications
offered
genuine
of entering
firsttime in France in theGerman Section exhibit of theDeutscher Werkbund toGropius, assisted by Breuer, Bayer, and Moholy-Nagy;
catalogue, which was printed entirely without uppercase
was conceived by Bayer. That work, like the exhibit, presented its
"system
of unique
characters"
(einheitsschrift).
Interestingly,
we
Berlin.
exhibitions
jury for the selection of finebooks, organized along the plan of the
International Exhibition.
sensibility
some success. by theDeberny & Peignot foundry in 1930, enjoyed in 1927, turned out Futura, designed by Paul Renner and marketed tobe an emblematic typeface for the aesthetic ideals of theBauhaus.
Renner alphabet members; was not a member of the Bauhaus, that were but the first sketches close to those structure of his of its of its revealed geometric preoccupations forms very
phy. As
Futura
type, merchandised
constituted
character, just as with the thenunpublished experimental alphabets Albers (stencils and combinatory writ of Bayer (Universal), Josef and Joost Schmidt. Strongly criticized ing [Kombinationsschrift]),25
by the advocates nonetheless that were of designed represented sufficiently rather a than constructed typography, of the with Futura moment the masses. synthesis down of the aspirations to communicate
toned
70
may seem heretical to thosewho thinkof the letter Though it as exclusively the issue of natural movement and knowing gesture, Futura nevertheless may be seen as the realization of social ideals: will to simplify the letterby removing on the one hand, the fierce all itsparticularity or historical connotations to facilitate thedaring
production hand, of an "elementary" distinctly archetypical expressed Upon crossing by form; and, some, on the other up with becoming into experimen then advance the a the desire, to come and
the border of
the expression
of utopias kept
that France
a type that sold by the success of "Europe" type,which remained Deberny & Peignot foundry. particularlywell for threedecades at the
How can we
explain
value
of
The graphic arts and typography of the Bauhaus, and a fortiori, the new typography, probably did not find truly favor
able reception in France. for example, On each side, the border was palpable. from Cassandre, in the 1930s received commissions
Charles Loupot pointed out that "... in the 1920s (and well after
that) was when everything considered the German that was suspect."28 scene, German How so near or, by can one extension, explain was such Germanic [...] a reservation with
apparently
not
from Germany.
The
monograph
devoted
to
at hand,
overflowing
reaching
having
momentarily
cocktails
of lowercase,
typography, to Germany,
is follow
true course."29 ing its Inversely, from France it appears that the transfer
graphic design in exhibits and in thepress. As for theBauhaus itself, Charles Peignot's visitwould be theonly point of contact attesting to a French typographical presence. But it was this school as an entity
that caught his attention. At the moment that he made his case in
themagazine
already had production
external commissions to fill, it would have been hard to overlook the school.30In fact,one could well be astonished at Peignot's discre
tion on been this subject because, in one way special been was or another, going on he would have aware that something it would have at the Bauhaus. discussion of
Moreover,
surprising
if some
Vox, from 1929 on, proclaimed thenew role for typography, though
always associated with is his patriotism: place [...]. "As It is not to type fonts, a new impossible inter nationalization taking that France,
with its innate sense of proportion, will see the birth of twentieth
century type Other and other [...]."31 links could be shown indicated, between but among France they always the members and Germany, were just as by
areas Thus,
of interest one
tenuous.
finds Cassandre
invited
theRing neue Werbegestalter [Circle of new advertising artists] in 1928 and 1929, and he participated in thisway in the new typography exhibits inMagdeburg, and in Berlin, in 1929. (The fewwritings
devoted to Cassandre seem reticent on this subject.) His name
occurs just below that of Bayer on printed material of that time, and the symbolic proximity of the two names hardly makes up for
an encounter that did Dexel, on Cassandre the Rhine. would not really take place. (Also etc.) mentioned The are Moholy-Nagy, available across Cassandre Burchartz, does Tschichold, information trip
there, and
of the activities
of the school
since 1919. Ifhe seems to have been the first with a lastingGerman for their French his interest, peers, part, apparently held littleplace
in the German Plakat in Paris" press. ("The by Thus, Poster in 1929, Die in Paris"). figures Form Here (Form) one published found "Das reproduc Loupot, on
four main
of the era
(Cassandre,
Colin),
as well
as an
instructive
commentary
their work.32
Dissonances the weakness practices show of the reception, many divergences, French and German
in spite
of chrono
thathypothetical 30 With the reservation archivesofferproofof the opposite view. Art et 31 Maximilien Vox, "Typographie," D?coration 56 (1929): 172. 32 "Das Plakat in See RogerGinsburger, Paris,"Die Form4 (1929): 583-585, as well as the articlebyJean-LouisCohen inthe same volumeA 33 Jules Ch?ret,active from The Frenchman of 1866, isconsidered to be the father themodern poster. 72
logical proximity. In the early 1920s, a (typo)graphic renewal took place simultaneously on either side of theRhine, with the year 1923
as a symbolic threshold. First of all, that year marked departed from a profound its expres "Art reorientation sionistic and of the first Bauhaus, artisanal attachments which
to adhere
to a new
motto,
and Technique: A New Unity." (The Bauhaus would at typographic printing office two years later, which time graphic expression would
the beginning artists began
integrate itsown
of a renewal to stand
century.33 Cassandre
the beginning
of his renown to his poster, "Au B?cheron" ["To the Woodcutter"], which dates precisely from 1923. Loupot's career in France equally took off in 1923with his "Voisin" posters for the eponymous auto mobiles. Both were surprising.Moreover, the "B?cheron" graphics34 attracted ferocious criticism fromLe Corbusier: "An uproar is in the
streets. In such [...]When a context, one how falls 'into the modern,' imagine one can fall very more low."35 radical can we that the much could
movement poster
the French
makers eager
was
to new
(typo)graphic professional
orienta graphic
by German,
Russian,
and Dutch
designers.
etc. French graphic design, which only skirted these concepts, did
not grasp them not in as direct them. a manner. The Sometimes, can be designers specified. even For seemed to know actors divergences typography,
the European
of the new
the association
of type
and photography offered new perspectives. Moholy-Nagy forged thenotion of the "typophoto" in 1925, having begun to experiment
with the two modes of expression in the early 1920s.36 In Berlin,
Cassandre makers
attached
to design,
gesture.
It is, perhaps,
photography, of "white
space"?or, Germany,
to the text, that promoted more the space precisely, and the Netherlands, equilibrium. breaks etc. in scale, clarity At
Russia,
of reading
Seeking mise
effectiveness,
they sought
textual
en sc?ne, attached
to the expressivity
Such iconographie choices reflect two different conceptions of typography. There are other disparities still to be noted. On the French side, these arise above all from the graphic and typographic
creation Cassandre's; Cassandre of a large number among would In and be them "the of posters Bifur, and some and type fonts?notably Moreover, interested the heat the approach in of Acier, Peignot.38 who was
first poster
maker
Germany,
as elsewhere, stimulated
interdisciplinary
tions, and other aspects of typography such as the inscriptionof text in space (volume, perspective, architecture,etc.). From 1925 onwards,
the members alphabets, of the Bauhaus which transformed took up their the concept ideals. Bayer of experimental conceived the
printing
adopted
at the same
time41?that
sion just as perfectly reflected the utopia of the essence of the letter,
of an Ur-form, ahistorical, and of a letter that was, astylistic. to a certain degree, anonymous,
attached must
necessarily
primitive letter, the lapidary letter, [...] the true, the substantially
monumental."42 possible, though The French /Bauhaus be more divergence nuanced. was as explicit as it should Cassandre was think
ing, above all, of the poster (though his Peignot type, conceived as type for text, tends to be made of shapes of capital letters), and
some also that German had such a graphic artists such as Walter letters. Dexel Is it not are or Max always as much Burchartz the case indica ones? predilection choices with for capital their even
ideological, is a monumental inscription: and more authoritarian.43 legible?one are inscribed and
sometimes letter
dominating, homely,
is supple, Latin
is tempted
democratic. selves?the
These
[more
dichotomy. In the 1920s, the Bauhaus and new typography opted for sans serif type,which was felt to be the best expression of themoment. In 1921, Francis Thibaudeau brought out La Lettre Printing Office] inAuriol, a 1901 type d'Imprimerie [TheLetter of the
that was emblematic of art nouveau. The author, full of patriotic
art."44
d'Imprimerie
remains
a very
instructive
work.
It
fits inwith specific Bauhaus preoccupations. For example, Albers was not "meant to was careful to specify thathis Kombinationsschrift add to the 18,000 typefaces that already exist."45 Itwas customary inGermany at the time to introduce typographic reforms inprint.
Literature on the subject abounds. Books, essays, and articles can be counted in thehundreds; doubtless even the thousands.
At times the Bauhaus, the ferment ideas, a and of ideas, the exchange?some a new graphic theoreti design, the dissent?of generated runs the will to establish on
cal foundation
quantity
of reflections
for France,
leftonly scat
the push exchanges hand, the for
never
of collective
In France,
the other
absence movements
or of comparably of writings
the relative
poverty
Divergence? Many things seem to affirm, in one way or another, that France
feeling? chilly
Throughout reception
century,
scenario,
would have fed a lively controversy. (Themembers ofDe Stijl did not
hesitate 45 46 JosefAlbers, "Kombinationsschrift 3," Bauhaus] (1931): n. p. Tschichold isknownto havewritten books and more thanone nearlyfifty more thana hundredarticles; Renner left hundredpublications. 47 Vilmos Husz?r,De StijIV (1922): 136, cited in Magdalena Droste's Bauhaus (Cologne:B. Taschen, 1994), 54, and Th?o van Doesburg, cited inRuedi Baur's La nouvelle typographie (Paris:CNDP, 1993), 60. sionist to express jam" and "a their disapproval hospital of the early which Bauhaus?"expres they were to exert for artists"?on
hostility.
is quite
inglorious.
of the biggest
names
Maximilien
ad nauseam:
The doctrine inwhich we believe cannot be other than Latin. [...] Fads pass, theybecome outmoded, whether Germanizing, Slavifying,Americanizing. All the signs are
there: very shortly the purest French
most French gesture, design?will flourish again like a the rose under the gray skies of the world. And that will be the
renewal of the Latin letter.48
gift, grace?served
by
of the Bauhaus."49
Claude
considered
matters"51?assertions
Monatsbl?tter/Revue criticisms emanated
Suisse
less than that "The Bauhaus, preaching the integrationof all the arts,
[...] mixed Bayer typography and architecture. [...] The research and of Herbert Paul Renner of Latin pared a this. all at the Bauhaus, of J. Albers, of 2000 Jan Tschichold, years
in the negation
of the evolution serif text typefaces,' It is hard attitude to believe found a fascist on
the arrival
of 'sans
of this century,
represented
threat
it could
get with
even more
Bauhaus,
in 1995, on Nationale.54
of a debate a rather
typography misreading.55
at the
This was
strange
from well-known
Should we view thisas fear inspiredby the tardyarrival of the avant garde typographical revolution? These unyielding judgments,which
moreover were never among supported different by schools any evidence, often arose as much quar These from quarrels (most legitimate
professionals.
as from fundamental
misunderstandings.
considerations really limit typography to thedesign of letters, which is itself reduced to skillfully drawn writing, the heir ofmore than
three-thousand years of alphabetical writing. Far from this relatively
Does not a certain rejection of the abstract Plane] and architecture.56 more closely, arematters To look into this with French reserve?57 fitin
more
traditionalistprofessionalism, the typographyof theBauhaus located its ideas within graphic design, photography, design, Kandinsky's theories (particularly Punkt und Linie zu Fl?che) [Point and Line to
itselftobe beneficial and a radicalmodernism. Did notMoholy-Nagy refer to the graphic quality of incunabula, inwhich he found some
characteristics
complex
than
the opposition
between
a tradition
that considers
of avant-garde
typography?58
Roland
Barthes
went
that pitiless
in flight?without a
of those who power, and on
"space."
To castigate or not
knowledge
of those
Because
the
both
leftforBerlin in 1920?and
typography, A stand the but rather few observations idealist goal was depth not
by particularly on of
aspirations:
universal repre
alphabet's
to become
typographical
letters, but
54
Eveningdebate, "Y a-t-ilun axe nord-sud at the Biblioth?que de la typographie?" Nationale, Paris, 1995. Cited in Ch?telains "D?bats ? laBiblioth?que Nationale ? Paris" in May Gutenberg, 10,1995, under the heading "Reflets techniques" (a complementary publica tion toRevue Suisse de l'imprimerie). See also Ch?telain, "Ma typographie," Monatsbl?tter/Revue Typografische Suisse de l'imprimerie 2 (2000): 1-16, especially 2-3, and 14. 56
were dismissed from theirteaching positions outside theBauhaus, such as Paul Renneror Jan Tschichold, who was forseveralweeks. Another imprisoned fact invalidating the "new typography" was the with the regime March 1936 which Kunst," poster for"Entartete mimickedthis kindof graphicdesign. Such artistic interactions of had plenty antecedents elsewhere. See the body of work of Peter Behrens forthe firm AEG at the beginning of the twentieth century. 57 See Kandinsky'sresponse to abstract art in Cahiers d'artl? (1931 ):350-353. See also Claude Mediavilla, Calligraphie (Paris, 1993),299-300, which include some cutting lineson Kandinsky.
58
See L?szl?Moholy-Nagy, "Zeitgem?sse Typographie?Ziele, Praxis,"Kritik, Hans Maria Wingler, (1925), cited in TheBauhaus (Cambridge/London: MIT Press, 1962, 2nd ed. 1968),80-81. Page 80: "The old incunabula, and even the first works, as well, made typographical effects ample use of the contrasting of color and form[...].Thewidespread process [...], application of the printing etc., have changed the vital,contrast-rich of the old printed works intothe layouts generallyquite monotonous grayof later books."
55
Foranyone interestedinthe Bauhaus, even nonprofessionals, it was quickly apparent that the year 1933would deal a fatalblow to the school?the members of theBauhaus, "cultural Bolsheviks" in the eyes of theNazis,were accused of concep propagatinga "Jewish-Marxist tionof art."Moreover, a numberof German graphicartistsand typographers
59
sented the firstinvestigations toward developing a new alphabet."60 The typography and graphic design of theBauhaus, ifthey satisfied
a number very of internal on realizations or exterior commissions they were and were a part of influential their environment, Itwas of vision" and first of all, a matter
of contributing
to the
of Victorian
after
Jugendstil,
propaganda.62
The Graphic design and typography also expressed the ideals of life. break with the past and the turn in favor of industrialization could
polemics. Isn't it astonishing, then, that this should have given rise
which, by definition,were subject to only yield nontraditional forms to a certain concept of "French" typography? But why did it take so long tobring to light rancor thathad never been purged?
Symptomatically, at an artistic, the virulence of that reception suggests that
ideological
their role
go so faras to project the danger of dictatorship onto the Bauhaus? Why this fury? Why make an issue of the Bauhaus's pedagogical experiences? Why didn't they bring such charges against De Stijl
or constructivism?63 This is not a matter
society. Why
a collective
worn affliction,but of questioning this late tendency to project all theworst qualities on the typography of theBauhaus or on thenew
of delighting
in an
openly
typography. Is not the fearofwhat theDessau school provoked the best proof that something really important occurred? If this typog
raphy aroused such fear, is it not because of the foreign powers that
60 Arthur Cohen,HerbertBayer (Cambridge/ MIT Press, 1984),215. London: 61 und See HerbertBayer,"Typographie Werbsachengestaltung," Bauhaus 1 thata where he reported (1928): 10, was to do half in asked Frankfurt printer hiswork in"the styleof theBauhaus." 62 Ellen Lupton, J.AbbottMiller, TheABC's ofAD O; TheBauhaus and Design York:Thames and Theory(London/New and Hudson, 1993), 22. Fora different modernist analysis concerning enriching graphicdesign, the new use of typogra and the advertising phyand photography, work of theRing,see Jorge Fraseara of "A History of Design, a History Concerns" in GraphicDesign History, Steven Heller and GeorgetteBallance, AllworthPress, 2001), eds. (NewYork: 13-18;
Paul Jobling, David Crowley, Graphic Design: Reproductionand Representation since 1800(Manchester and New York: Manchester University Press, 1996), 137 Modern Typography: 170; Robin Kinross, An Essay inCritical History (London: HyphenPress 1992),85-99: Maud Lavin, Clean New World: Culture,Politics, MA: TheMIT GraphicDesign (Cambridge, Press, 2001), 26-49.
63
Charles Peignot, "L'enseignement alle professionnel,"Vu (L'?nigme maw/ej213 (1982): 306,who made the same fineeulogy on thistopic to "the of the 1920s,whose Constructivists works are themost accom typographical plished ever seen."
78
are held to be unwanted on French soil associated with them? It is us Tschichold was able to express possible, but let be prudent, forJan himself in the following terms in 1959: "To my great astonishment, most shocking parallels between the teachings of the I detected the new typography, national socialism, and fascism."64 This makes
things was more confusing of an than injured they otherwise man who, would seem. to go But this the reaction in 1933, had into exile
64
Cited inRuari McLean, Jan Tschichold: LundHumphries, Typographer(London: 1975, new ed. 1990), 69.
65
Glaube See Jan Tschichold, undWirklichkeit, 1946, cited in Monatsbl?tter/Revue Typographische 1 (1995): 9-16, Suisse de l'imprimerie especially 10: "The creatorsof theNew and the tendencies that Typography it embodiedwere, like me, resolute I enemies ofNazism [...] was, alongwith detention,' mywife, held in 'preventive of the so that is,prison,at the beginning called ThirdReich."
missions
with
took place late and indirectly through and typographers from the Swiss school, beginning graphic artists from the Bauhaus
who Jean Widmer, arrived in France in 1953, after training at the
Zurich school then directed by Johannes Itten.66 Among them,Peter Keller and Rudi Meyer from the Basel school greatly contributed to the foundation and development of design knowledge directly
based on the avant-garde spirit, notably through their teaching at
66
Jean Widmer settled inFrance in 1953. If he knew Itten well, he also hadmet Max Bill,a Bauhaus pupil.See Jean Widmer,graphiste,un ?cologiste de l'image, Margo Rouard-Snowman,ed., at Centre catalogue of an exhibition Pompidou,Paris, 1995 and JeanWidmer, Maison du Livre, de (Villeurbanne:
Sup?rieure des Arts D?coratifs beginning in the 1960s. Through them, and perhaps for the first time,Central the ?cole Nationale
modernism in France.67 an important European curriculum sional level, of the As a interwar parallel period found a on place in the development took place the profes Adrian
collaboration
between
l'Imageet du Son, 1991). 67 As fortypography and graphiedesign, it seems thatnowide-ranging educational projectcan be found inFrance inthe first inspite of halfof the twentieth century, the roleof the postermakers. 68 69 AtelierNational de Cr?ation Originally Typographique(ANCT). Georges Bonnin'spreface to theANCT brochure of 1992. Georges Bonnin ranthe Nationale from1971 to 1983. Imprimerie Infact,a numberof Bauhaus students came from Czechoslovakia, Hungary, theScandinavian countries,theUnited America. When the States, and Latin was established inBerlin, it organization included168 pupils,ofwhom thirty-three were foreign. 71 JeromePeignot,De l'?criture ? la typog raphie (Paris:Gallimard, 1967), 104-106. 72 Maximilien Vox, "D?clin d'une h?r?sie" in Caract?re (1965), cited in Vox," RogerCh?telain, "Maximilien Monatsbl?tter/Revue Typographische 4 (1995): 2-3. Suisse de l'imprimerie 73 Charles Peignot, "L'enseignement profes sionnel," Vu (L'?nigme allemande)l\3 (1932):105.
Frutiger and theDeberny & Peignot foundry.There was a new line in teaching?in 1985 a National Institute forTypographic Research
was created,68 with of the mission techniques while The of and "[entering tendencies its name] that into the certain evolution characterize the great reoriented
typography,
maintaining, establishment,
of course, rapidly
in this area."69
toward the transmission of Swiss typographic culture (thus linked to the spirit of theBauhaus) under thedirection of Peter Keller, was
open to the perspectives perspective; testified to the desire of historical an international for the cultural avant-gardes student interactions and presence to an inter nationalist since there has
70
characteristic
of the Bauhaus.70 It is a matter typographers was not of public a cause record that the arrival of the Swiss J?r?me
among
the French.
Peignot wrote, "It is not far from the spirit of Zurich to that of the
Bauhaus. to a single ingly [...] The idea theses worked [...]. One two knows chairs by the Bauhaus it is a [...] No can be reduced the result: of history. clumsy doubt, letter seem the Bauhaus
set between
designers have thought about it for a long time. Too long." (This was published by Gallimard in 1967 in the series "Id?es.")71 For
Maximilien Vox, "Swiss
typography
[...] was,
in fact, a totalitarianism
Let us content ourselves with noting one or two vivid histori cal ironieshere. The first printing shop in France,which produced its first printed book in 1470,was run by "three Rhenish typographers (UlrichGering,Martin Crantz, and Michael Friburger?apparently of
and Swiss origin), summoned by the University of Paris."74
German
Though more difficult to find,a positive late reception of the Bauhaus did occur. In 1960, an article in La France graphique [Graphic
Five centuries later,in 1972, the French foundriesDeberny & Peignot closed theirdoors, bought out by the Swiss foundryHaas.75
for
"that beauty, that purity which characterizes the graphic arts in Switzerland."77 The Peignot dynasty decidedly did not speak with
a single voice. Let us conclude with Charles, the father. In 1957,
he founded at Lausanne
of theBauhaus and French reserve, finally illuminating the interior of thatdark situation forus:
After many contacts and numerous conversations [with
(Association Typographique Internationale) [International Typographic Association]. Some lines fromhis pen in 1969 eloquently establish a linkbetween the action
theAtypI
76 Walter Plata, "Typographie moderne alle mande," La Francegraphique 166 (1960): 8-14, especially 8. 77 R?myPeignot (1946), cited inRoger Ch?telain, "Le chantrede la 'graphie Monatsbl?tter/ latine,'"Typografische 4 (1995): Revue Suisse de l'imprimerie 4-5. 78 Charles Peignot, "Cassandre et la typog M?decine de France 198 (1969): raphie," 38.
of them.
The monster
the Bauhaus.
Had
thatnot happened,
posterity and
a different
typography and graphic arts of theBauhaus embodied the ideals and members through theirsignificantformand beyond theutopias of its
their role relations human in the more language industrial fluid, which era: to create new spaces other. better conditions, to make to dream of to invent for life, and
is completely
Acknowledgment
like to thankAndy Stafford,Parry Jubert, Peter Keller, Isabelle Ewig and VictorMargolin.
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