donderdag 16 februari 2017
Bruynzeel's Fabrieken Zaandam De Stijl Vilmos Huszar Graphic Design Piet Zwart Company Photography
Bruynzeel's Fabrieken Zaandam. [Text C. Bruynzeel (firm's history). Photography Piet Zwart. Ill., layout Vilmos Huszar].
Zaandam / 1931 / 72 p. / hb. / 24x32cm / 119 b&w photographs, partially commissioned and partially from the firm's archive / interieuropnamen, bedrijfsreportage / productieproces, houtvoorraad, halffabrikaten en toepassing van hout in woningbouw, musea en oceaanlijners. - 49 color ill. / beeldmerk, colorvlakken / aardbol en het patroon van een parketvloer. / NN / Firmenschrift, Festschrift / Wirtschaft, Firmengeschichte - Photographie - Anthology - Auftragsphotographie, commissioned photography - Nederland, Niederlande - 20. Jahrh. / Printed by (boekdruk). - Opdrachtgever: C. Bruynzeel & Zonen's Vloerenfabriek, Schaverij, Zagerij en Houthandel (10-jarig bestaan). - Voorloper van bedrijfsfotoboek met kenmerken van foto-typo-taal. Uitgevoerd in oblong formaat. De fotografie dient ter illustratie van de tekst.
Vilmos Huszár, a Hungarian interior decorator, painter, and graphic designer, studied at the Kunstgewerbeschule in Budapest in 1901. After living in Munich, Paris, and London, Vilmos Huszár settled in the Netherlands in 1908. In 1917 Vilmos Huszár joined the painters Theo van Doesburg, Piet Mondrian, Bart van der Leck, the architect J.J.P. Oud, the poet Willem Kok and others to found De Stijl. In 1919 the furniture designer and architect Gerrit Rietveld also joined the group. In 1917 Mondrian and van Doesburg founded the art journal "De Stijl", from which the group of artists took its name. The De Stijl artists were entirely opposed to naturalistic representation. The palette De Stijl advocated was limited to the primary colors blue, red, and yellow plus the non-colors black and white. Forms were always reduced to horizontal and vertical basic elements; under the influence of the Russian avant-garde, diagonals were later permitted. These stylistic principles were applied by Vilmos Huszár as well as Gerrit Rietveld with great consistency to interior design, including furniture and textile design. Vilmos Huszár interpreted interiors as surface impressions; the impression of space was to result from surfaces being in different colors and material substance. Similarly, spatial depth was to be influenced, i.e. enhanced or moderated, by polychrome floors, walls, and ceilings as well as the furnishings and appointments of rooms. Through his dynamic interior designs and powerful use of color, Vilmos Huszár exerted a powerful influence on the De Stijl artists. From 1917 to 1921 Vilmos Huszár designed covers for the journal "De Stijl" and wrote several articles. In 1923, however, Vilmos Huszár left the De Stijl movement.