The Blending of Art and Mass Culture Essay Example | Topics and Well Written Essays - 1500 words

The blending of Art and Mass Culture - Essay ExampleWhile he asserted that the post horse isa construct object that must have a commercial function (Medlej), Cassandre found that he could white plague images, coloring materials, and school text edition in a sort of artistic fusion to grab the attending of the viewer. Making posters as biggish as 13 x 15, Cassandre learned how lucrative art could be (Owen). As Neil Harris observed, business could beas stimulating a patron of the arts as prelates, cardinals, and popes were who represented the church in the fifteenth century.Cassandres approach was not without its detractors. at that place were those who wondered if his style would make its way from France into American advertising - specifically, whether the American advertising designers would be willing to wane aside their more conservative and monotonous design styles for something that seemed to swing closer to the ground of art than the world of business. Those who hope d that American advertisers would change their designs were those who saw how Cassandres posters used geometry to grab the attention of the viewer they realized the potential of attention value. While advertising only attracts those whose circumstances permit the possibility of action, Cassandre sought to make sure that the most(prenominal) focused attention would be on his posters (Parker). This focus would come with the elimination of distractions, so that the central center of the advertisement would be clear to the viewer (Parker).Cassandre established a handful of principles in his poster design. As mentioned above, Cassandre aimed for very large posters, and had a revolutionary attitude toward text. While other poster-makers attempted to squeeze the text in around designs, or wherever it would fit, Cassandre found the text to be the central part of the poster, specially in advertisements. He claimed that design should be based on the text and not inversely (Medlej). His fu ry on the artistic value of text led him to experiment widely in sans serif fonts (Megaw, Hatchings), fifty-fifty to invent the Peignot-font, which he believed to be a purer form of the alphabet as far as it verbalised the essential character of Roman letters (Tam). His goal was to make Peignot one of the established text-faces, but this did not come about during his lifetime (Tam). Cassandres emphasis on text even went to the use of alliterative slogans to append the allure to the viewer (Hambourg).Another one of his principles centerd around the use of geometry and architecture to design his posters. Enlarging a poster to the sizes that Cassandre wanted in the 1920s risked severe distortion of the original image, and so lines were used that would be difficult to distort. This use of line and form in a more figurative way was one of the basic influences in the later works of Max Lingner and Salvador Dali, who took the distortion of line and form to new frontiers (Held).Cassandre s notions of poster-making had a significant force on a variety of art forms throughout the rest of the twentieth century. His ideas concerning the use of line and color to increase audience attention became one of the founding tenets of the Bauhaus school.