​Bonnie Maclean was born in 1939 in Philadelphia, her work is highly recognizable for the years of the 1960’s and 1970’s psychedelic ‘hippy’ art movement. She produced posters for a wide variety of entertainment, clubs, concerts, live events and more. Maclean worked with a group of other artists during her time creating rock-band posters through her husband (at the time) Bill Graham’s organization.  She was a girl in the ‘boys’ club but that didn’t get in the way when it came to creating her own style.
The organization that Bonnie ended up being a part of was the Filmore Auditorium, she spent her time to begin with painting notice boards in the swirling psychedelic style, with the notice of her talent Bill Graham promoted her to Art Director when Wes Wilson left the organization due to a quarrel with Graham. 

This detail is rather important when you view the two artists work, Maclean’s work in my opinion has a clear relationship with the work of Wes Wilson. Her work has similar influences such as the use of feathers to create a flowing effect over one of her pieces of work, with a similar resemblance in Wes Wilson’s. I also note a similar lay out and imagery, mainly consisting of just faces of people usually women such as the study of the few below, in my opinion Bonnie is influenced by Wilsons use of traditional symbols and ‘medieval’ looking designs which reflects historical patterns, this can be seen in her poster design with a strong traditional and Celtic vibe that features in the background. Although both artists have their own creative style, it is possible to notice the influence Wes had on Maclean, especially when his poster designs were more detailed and illustrative rather than his looser lined posters. 


https://www.classicposters.com/artist/bonnie-maclean
https://wearecomet.com/1960s-psychedelic-tribute-calendar-bonnie-maclean/
https://www.bahrgallery.com/artist-master/bonnie-maclean
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Bob Peak
Known as one of the great Illustrators in America during the 1970’s Bob Peak was an influential Illustrator who brought a new meaning in the way of advertising posters, magazine covers but most importantly his creative outlook on designing Film posters.
Bob Peak was born in Denver Colorado in 1927, he had strong artistic talents from a young age even though he did not fully utilize his skills until he studied at the Art Center College of Design in L.A. where he graduated in 1951. By 1953 Peak moved to New York with his wife as an Illustrator. During this time, he did not feel like his work stood out and it was quite mundane, from this he reinvented his illustrative style and enhanced his skills by incorporating striking contrasts, bright saturation, and vibrant drawings. This led him to land his first big break advertising for Old Hickory Whiskey, and from here his career rapidly grew.
Bob Peak designed posters and magazine spreads for companies such as Sports Illustrators and posters for Cocoa-cola, but his design of West Side Story poster set him on another path. After the success of West Side Story Peak went on to design posters for some of the biggest film names in Hollywood during the 1970’s from Camelot to James Bond. Peak’s work throughout the years transformed movie posters into vibrant and innovating illustrations, from his work artists were heavily influenced by the realistic and bold designs that he was creating, this is apparent in the works of John Alvin and Richard Amsel.

 
 
 
 
https://illustrationage.com/2018/08/07/turn-back-the-pages-bernie-fuchs/
https://www.richardamselmovie.com/single-post/2017/05/28/the-life-and-legacy-of-bob-peak
https://bobpeak.com/about/
https://forcesofgeek.com/2013/06/bob-peak-american-illustrator-superstar.html
http://linesandcolors.com/2009/06/12/bob-peak/
 

Bernie Fuchs
Another highly successful illustrator for the time was Bernie Fuchs, he specialized in magazine spreads and worldwide campaign advertisements. His work stood out from the rest, working for magazines such as Good House Keeping, Sports Illustrated and Cosmopolitan to name a few. He changed the direction of Illustration and adapted a new style by painting with a light oil wash rather than the usual acrylic, this gave his work a much looser style.
From his artwork collection he has a specific eye for using unusual viewpoints, from this he could create a different narrative and show the reader a new perspective. When mocking up illustrations he would colour sketch the idea from different viewpoints until he reached the right ‘look’ this way of viewing the subject from a different eye level or with obstacles in the way was incredibly innovative in the world of Illustration in the 1970’s.
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Fashion Editorial
Grazia December 2020 Issue
How to Dress up Your Interiors and your WFH Wardrobe

In Grazia’s December edition one piece that stuck out for me was not solely based one fashion clothing and models but rather fashion and interior design. I found this article forms a relationship between our surroundings and how we dress, work and live.
The main narrative of this article is based on Giorgio Armani the famous Italian billionaire who has a high end extremely successful brand of high-end fashion, fragrance, and home wear. I believe this article is either a partnership to promote the furniture and home wear collection or just a good topical discussion. The piece is over a 2-page spread and has a main objective of trying to relate to people throughout 2020 and the year that has been, with the ‘new’ way of life being working from home and lockdown measures resulting in people having the time to reflect on their personal workspace or just home environment in general. The intention of relating to people working from home is to give the reader a positive outlook at a WFH situation and rather than falling out of routine instead inspire the reader to make the effort to dress fashionably but comfortably whilst also providing inspiration to change up your homework space or living areas, this is achieved with the added influence of Mr. Armani and his various ‘homes’ around the world.
I would like to say the target audience is everyone who is either WFH or furloughed etc. however, the article has various images of pieces that one could add to their home decorum and it would ‘transform’ the room however based on the price tag of these items and the choice of designer (a coffee pot at £2,115) I would say it is aimed at a the very wealthy so not a large majority of women or men from 25+ although, this does not mean people of a lower wage could not get inspiration and find cheaper alternatives that were based more in a realistic price range.  
The choices of location imagery vary from St. Moritz, London, Milan and Pantelleria from a small photograph of Giorgio Armani’s list of houses. We know this as the photographs are taken from within each of his residencies although no more than 2 are taken for us and they have been cleverly taken to just show the reader enough to see how the other half lives, whilst gain designer décor inspiration. By not photographing the whole room for example, the shot of just part of the library and staircase in his London town house, makes the reader curious and intrigued to wonder and imagine what the rest of the picture would be filled with. The rest of the imagery in the article contains items from Armani/Casa the home range which have been cut out probably using photoshop and placed to match with each scene of the 4 homes as a ‘this could be in your house’ to get the look.
As with the main agenda of the article the tone is classy and luxury. Tones of black, grey, and white scream sheek and sophistication. This choice of colour and tone are brought together by the choice of typography a slim fit and tall font which is common in the world of fashion adds to this sense of class and elegance.
The layout is scattered but organized with each location carefully placed with a brief description that tells the reader enough on how to achieve a similar design influence.

​Max Bills cannot be classed under one label of professionalism, he is an artist, designer, architect, product designer, painter, sculptor and the list of achievements he has had throughout his career is extensive to say the least.
Max Bill’s was a Swiss artist born in December 1908 (died 1994 Berlin) in Winterthur. He was an incredibly influential and talented man with a thirst to create. He began his successful career from a young age and already showed his unique understanding of layout, composition, typography and design skills when he won a competition to create a poster for a popular chocolate bar company, he also had his work exhibited at the well known ‘Exposition Internationale des arts decoratifs’ in Paris at the age of 17. Bill’s was studying at the Zurich School of Applied Arts from 1924-1927 as an apprentice Silversmith, however he was expelled and instead went on to The Bauhaus with the prize money he won from the poster design.
Max Bill’s was learning at The Bauhaus with several established Artists to our day such as Wassily Kandinsky and Paul Klee. He only attended the school until 1928 however, his design’s and career beyond The Bauhaus reflect how prominent this time of his life was.
After The Bauhaus Bill’s went on to be on the Swiss Werkbund and was in an artist group of influential talent in Paris called ‘Abstraction-Creation’ he also founded The Allianz Publishing House for Abstract Artists and The Institute of Progressive Culture, this is just to name a few of his many achievements in life.
Max Bill’s is best known for his co-founding in The Ulm School of Design. He was the Architect for the School and the head of department for Architecture and Product Design, understandably as he had already taught this subject at Zurich.
Bill’s was heavily involved in the design of the school and its curriculum, he took great inspiration from The Bauhaus’s philosophy and incorporated this into the school’s ways. Max taught at the school until 1957 and was the rector until 1956. During this period of his life he created a vast array of designs which are still manufactured to this day such as the Ulm Stool which he co-created with Hans Gugelot and his designs for Junghans wrist watches and stools.
You could say Max Bill’s was like the Hindu goddess Durga, his repertoire for talent were his weapons and each arm was a skill he owned with his creative mind. His style was of a constructivist and was the founder of the movement ‘concrete art’ which is similar to constructivism however when Bill’s applies it he involves heavy colour and no reference to shapes that reflected nature specifically or rules that had to follow cubism, instead his work produced was made up of interesting shapes that just worked.
Max Bill’s work that is most notable to me is his Graphic Designs and Advertising Posters. His designs are clear and concise, usually with a san’s serif typeface and in a lower-case format. The layout of his work is elegant and simple, I also admire his stripped-down use of simple geometric forms and lines to add depth to an image which usually take center fold. Furthermore, his particular use of imagery in his Graphic work creates a no fuss straight to the point attitude, but my main appreciation of his work is his bold colour choices in relation to simple geometric forms with the clear attributes of concrete art and constructivism. His style of graphics and typography are a joy of modernity and can be hailed to his Swiss background.
After Max finished teaching at the Ulm School, he went on to be a professor in Hamburg at The Institute of Fine Arts. He was designing and creating sculptures up until he was 80. His main aim when he was creating objects and art forms were for the human experience, he defined this in 4 statements:
 “Utility: the object should fulfil all the functions for which it has been created
Usefulness: the choice of materials and the means of production should enhance the usefulness of the object
Suitability of form: The form of an object should accord perfectly with its intended purpose.
Aesthetic unity: The form should not simply be a response to its use but should be manifest as a harmonious whole, evoking a general impression of beauty.”
 
 
He was an intellect and creative genius from viewing the correlations of Mathematics, Geometry and Art, his life’s work should always be admired and celebrated.

http://www.saturationpoint.org.uk/max_bill.html
https://www.britannica.com/biography/Max-Bill
http://www.artnet.com/artists/max-bill/
https://www.bagtazocollection.com/blog/2016/3/15/max-bill
 
 
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Also known as Heyman-Loberstein, Heyman-Marks, Grete Marks, or Greta Pottery.
Margarete Heyman was born into a Jewish family on the 10th August 1899 (1990) in Cologne Germany. She was a talented painter and ceramicist and attended the well-known Bauhaus school only for a short period of time, however.
She was a rule breaker and exceeded the mold, her work shows how exceptionally talented and original her designs were and how her thinking was massively ahead of the times. Heyman’s ceramic designs were contemporary Avant Garde and often criticized by Socialists. Sadly, I feel her work and career is overlooked and overshadowed by the vast names that are more well known to us as being the ‘stars’ of the Bauhaus.
Margarete began her artistic journey by attending the local art school in Cologne, then onto Dusseldorf and finally in 1920 at the age of 21 she was accepted into the Bauhaus.
The Bauhaus during this time was directed by Walter Gropius the first director. It was to be the pinnacle of Art and Design schools to attend in Germany and offered vast opportunities to develop and evolve new or existing skills. The Bauhaus boasted of its equality of gender and how this could not determine what craft you could learn-except this was not entirely the case whilst Gropius was in charge, stereotypically he pushed weaving workshops onto women.
Margarete Heyman refused, she wanted to study ceramics and got her way onto the course. Sadly, this venture did not last long, Heyman had a voice and was not afraid to use it, she did not ‘fit in’ to the Bauhaus’s standards. She quarreled with her ceramics tutor and left the school after only one year.
After Margarete left, she married soon after in 1923 to Gustav Loberstein who was an industrialist. Together with the help of Lobersteins brother they rented then eventually bought a factory to produce her pottery designs under the name of Hael-Werkstatten.
Margarete’s work that she was producing was simplistic and modern, consisting mainly of shapes such as circles and triangles. Her most popular and recognizable visuals being teacups and pots that resembled the steep slopes of an upside-down triangle with an ellipse top, and the triangular point cut off to make the base. More specific detailing on her designs were 2 signature circles, one larger than the other, placed on top of one another on the side of the cups, beveled to create a handle then finished off in a wonderful glaze most likely of a pastel color.
Heyman’s business was a success with 120 employees with her work being shipped to London and America to be sold in department stores. In 1928 tragedy struck and Margarete’s husband died from a car accident. She continued to run the business with her 2 young sons to raise but with the economic depression in the 1930’s and Nazi Regime in force she was pushed to sell her factory in 1935, (at an unfair price) mainly because she was from Jewish decent but also as a woman with the Nazi’s classing her work of a ‘degenerate’. Margarete was able to move to Britain in 1936 with the help of Ambrose Heal a client from London.
From here she lived in Stoke on Trent and continued creating her pottery however this venture did not work out due to her modernistic designs. Eventually she got commercial interest from Minton & Co. but again she clashed with her male colleagues and had to be let go, then her final venture was through Grete Pottery which had to close due to WW2. Margaret remarried Harold Marks an English Educator and relocated to London where she still experimented through pottery but instead painted as her primary.
Sadly, Margarete Heyman is an unforgotten piece of the Bauhaus’s history mainly due to her not being there long and also because she did not follow her peers who went on to America, and where Gropius who had a Harvard Teaching post basically shunned artists that he did not class as ‘important’ Bauhaus attendee’s.
Heyman’s turbulent career cannot have been helped by the vast names she came under, this meant she was unable to establish herself. The greatest downside to her career though was something she just could not comprehend, having to battle with numerous life changing altercations and being a daring woman in an oppressed time, for a matter of fact the wrong period of time. Whereas I believe 30 years later and onwards she would have been a great success. At least she is getting the recognition she deserves to this day, and you must credit her persistence to establish herself as a designer and artist.

https://www.margaretalmon.com/a-margaret-of-many-names-margarete-heymann-lobenstein-and-finally-grete-marks1899-1990/
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https://www.dailyartmagazine.com/beat-the-whites-with-the-red-wedge/
http://dighist.fas.harvard.edu/projects/russiaglobal/exhibits/show/objects/item/68
https://properganderpressblog.wordpress.com/2016/11/22/stalin-poster-of-the-week-gustav-klutsis-under-the-banner-of-lenin-for-socialist-construction-1930/#:~:text=This%20well%2Dknown%20poster%20of,literally%20in%20Lenin's%20shadow.&text=Klutsis%20became%20a%20prominent%20graphic,the%20goals%20of%20the%20regime.
https://utopiadystopiawwi.wordpress.com/constructivism/el-lissitzky/beat-the-whites-with-the-red-wedge/
http://dighist.fas.harvard.edu/projects/russiaglobal/exhibits/show/objects/politics/klutsis
https://www.icp.org/browse/archive/constituents/gustav-klutsis?all/all/all/all/0
https://monoskop.org/Gustav_Klutsis
https://www.tate.org.uk/art/artists/el-lissitzky-1519
https://www.britannica.com/biography/El-Lissitzky
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​The Art Nouveau movement began during the early 19th century around 1890 until 1910 and swept across Europe and The United States. The recent influences from Japanese culture contributed to this artistic period, but mostly art nouveau was a creative expansion from the usual historical art that was previously accepted. During this period artists were collaborating and experimenting with different materials and techniques, it was painting, glass work, illustration, jewellery, and architecture to name a few. Artists were inspired to visually display work that was crafted from a more dream like world of their imagination by combining nature and religion, real life forms and geometric by using long lines that flowed for the viewers eyes in an elegant and stylish manner.
Over Europe Art Nouveau was distinctly influential however I believe it was grasped so beautifully from the Architecture that was created from this time especially in Vienna, Glasgow, Nancy and Madrid, the artists used the city and skyline as their own canvas with their own influence and expression for all to see.
In Vienna major artists transformed Vienna into an architectural metropolis. Otto Wagner and Joseph Marie Olbrich were 2 of the main artists leading Vienna into the Art Nouveau movement. Architects were inspired to create buildings that were structurally bold and beautifully symmetrical, adorned in lavish ornamental decorations such as marble, gilding, bold colours and florally embellished.
Otto Wagner was dominating the Art Nouveau movement in Vienna with his work being unmissable around the city. He designed residential buildings such as the famous Linke Weinzeile NO.38 that is lavishly decorated in gold floral designs on sleek and fresh walls to give focus entirely to the beauty of the building. Wagner also designed Church’s, railways stations and his own villas.
Otto Wagner employed Joseph Marie Olbrich in 1893 and was incredibly influential in Vienna’s art movement. In 1897 The Vienna Secession was founded by Olbrich, Gustav Klimt, Josef Hoffman and Koloman Moser. This artistic collaboration resulted in a grand building called The Secession Hall, this was created and designed by Olbrich and was Europes first ever building holy dedicated to modern art, this was a pivotal moment in the world of art and the display of the building sets it apart from the usual architecture that had been around for years before, clearly stating a change and a step forward was happening during this period in time.
Artists and creators such as Olbrich and Wagner produced outstanding beauty for people to capture in their everyday lives in Vienna, this art movement was not just for galleries.

​Nancy in France was another European city that was heavily influenced during the Art Nouveau period the 19th century. A group of artists and designers created Ecole de Nancy or Nancy Art school during the art nouveau movement. These artists grew inspiration from nature and plant forms with the mix of science created art and architecture. Nancy was renowned for its art and design which resulted from art nouveau. Architects created Nancy into an abundance of decorative displays which was influenced by the school of art.
Emile Galle was a talented glass artist who helped combine the art world and architectural to collaborate Art Nouveau. Buildings in Nancy were designed with floral patterns and decoration paired with smooth curves, the architecture was less structural and cornered and instead archways and window frames consisted of a looser style with rounded lines.
The city of Nancy was vastly impacted by the creation of artwork, design and architecture during the Art Nouveau period in France the area was becoming more populated and even challenged Paris for it’s cultural and artistic fame. Other cities such as Glasgow and Vienna’s architecture were more urban whereas Nancy’s was not, the city was relishing in beauty and design. Tactically large retail stores were commercially using architecture from Art Nouveau to stand out and gain commercial success just from the appearance of buildings.
As with any art movement, things are always moving forward, and Art Nouveau died out during the early 1900’s however Nancy carried on creating for another 10 years after it had faded throughout Europe until World War 1 began. 

​Art Nouveau was strong architecturally which makes it very recognisable and at a larger scale however as well as building design and decoration it was seen in many different areas. Art Nouveau was about Artists experimenting from using different materials to techniques but of a wider range than usual, influence was found through Graphic Design, paintings, design, architecture, and craft art.
Glasgow was uncommonly expected to be on the list of places that had a big hit through this time. Again, another group of like minded artists who revolutionised the old Victorian ways of the art world into the modern era.
Glasgow’s art nouveau was slightly different to the romantic architecture in Nancy and luxurious buildings in Vienna, the designs in Glasgow consisted of smooth textures and sweeping lines usually finished with an ironmongery design of floral and natural forms above window frames and doorways. I believe the artistry throughout Glasgow are more in keeping with the traditional gothic architecture, whereas in Vienna buildings such as the Succession are made to stand out, to be noticed.
A charming and strong example of art nouveau in Glasgow can be found in the Willow Tearooms which was designed inside and out by Charles Rennie Macintosh who was a well-known artist and designer and part of ‘The Four’ a group of designers and artists who helped shape Glasgow’s visual arts as it is today. He brought Glasgow into the world of modern art with his take on art nouveau and was highly successful throughout this movement and designed several popular buildings. The Willow tearooms he designed boasts tall flowing lines that represent a modern aspect in the furniture and with beautifully decorated glass. His work was a much more understated type of Art Nouveau compared to Madrid and Vienna where the buildings are loud and show themselves off however the architectural designs created in Glasgow were still of a different style at the time but to our eyes now seem very modern as the lines made are sleek with crisp and delicate detail. 

​Lastly Madrid was also made popular from the architecture that was created during the early 19th century. Antoni Gaudi is one of the most well known and influential artists from this time. His reputation and interpretation of the Art Nouveau period is most famed for his extremely elaborate designs.
I believe out of all these cities the art nouveau movement was the boldest and striking in Barcelona and Madrid from Gaudi’s work. His representation of natural forms coinciding with religious aspects of his own beliefs added with the technical and scientific engineering were ingenious. His work rivalled all and had influences from traditional Catalan style, gothic, French Avant Garde and Oriental.  He designed buildings with fluid forms and bold eccentric colours and patterns. Sadly, Gaudi’s work remains unfinished such as Santa Coloma de Cervelló and the iconic Sagrada Familia, yet they are still jaw droppingly beautiful and ornate, his masterpieces and design innovation lead this revolution of modern art.