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Herbert Bayer, Walter Paepcke and Fernand Léger

Herbert Bayer, Walter Paepcke, Fernand Léger [essay]: MODERN ART IN ADVERTISING:  AN EXHIBITION OF DESIGNS FOR CONTAINER CORPORATION OF AMERICA. Bloomfield Hills, MI: Cranbrook Academy of Art, 1945. First Edition. Slim quarto. Printed stapled oatmeal wrappers. 36 pp. 18 black and white reproductions. Essays. Cover design and interior typography by Herbert Bayer, who was a design consultant for the Container Corporation of America at the time of publication. Trivial wear overall. A nearly fine copy of this early iteration.

7 x 9.25 softcover catalog with 36 pages and 18 full-page black and white reproductions of advertising artwork commissioned by Chairman Paepcke for the Container Corporation of America. An excellent vintage snapshot of corporate America's embrace of the European Avant-Garde.  Includes a  Preface by Albert Christ-Janer, and essays entitled "Art in Industry" by Walter Paepcke and “Relationship between Modern Art and Contemporay Industry” by Fernand Léger. This catalog is for the installation of this exhibition at the Cranbrook Academy of Art from November 10 to December 2, 1945.

Includes work by A. M. Cassandre, György Kepes, Herbert Bayer, Fernand Léger, Richard Lindner, Jean Carlu, Herbert Matter, Jean Hélion, Miguel Covarrubias, George Korff, Ben Shahn, Sigurd Sodergaard, Henry Moore, Persia Abbas, Tibor Gergely, Leo Lionni, Zdzislaw Czermanski, and Juan Renau. This catalog also includes biographical information for all of the above-mentioned artists, as well as for Arshille Gorky,  Edward Mcknight Kauffer, Philip Evergood, Paul Rand, Man Ray, Xanti Schawinsky Rufino Tamayo, Jean Varda, Toni Zepf and others whose work in in the exhibition, but not included in the catalog.

Herbert Bayer devised a cost-effective solution for the multiple editions of the travelling MODERN ART IN ADVERTISING Exhibition catalog — he designed the cover around "modern art in advertising" printed in white and "design for Container Corporation of America" in black. Black is also used for the dates and venues to be determined. These covers could be produced as easily customized pre-printed shells or changed with a restripped black plate. "Art and technology -- a new unity." Indeed. This exhibition originated at the Art Institute of Chicago, then traveled to Cranbrook, the Walker Art Center, the Philadelphia Art Alliance, the Los Angeles County Museum, Davenport Municipal Art Gallery and other stops over the next four years.

Of all the artists to pass through the Bauhaus, none lived the Bauhaus ideal of total integration of the arts into life like Herbert Bayer (1900 - 1985). He was a graphic designer, typographer, photographer, painter, environmental designer, sculptor and exhibition designer. He entered the Bauhaus in 1921 and was greatly influenced by Kandinsky, Moholy-Nagy and El Lissitzky. He left in 1923, but returned in 1925 to become a master in the school. During his tenure as a Bauhaus master he produced many designs that became standards of a Bauhaus "style." Bayer was instrumental in moving the Bauhaus to purely sans serif usage in all its work. In 1928 he left the Bauhaus to work in Berlin. He primarily worked as a designer and art director for the Dorland Agency, an international firm. During his years at Dorland a Bayer style was established. Bayer emigrated to the United States in 1938 and set up practice in New York. His US design included work for NW Ayers, consultant art director for J. Walter Thompson and design work for GE. From 1946 on he worked exclusively for Container Corporation of America (CCA) and the Atlantic Richfield Corporation. In 1946 he moved to Aspen to become design consultant to CCA. In 1956 he became chairman of the department of design, a position he held until 1965. He was awarded the AIGA medal in 1970. Bayer's late work included work for ARCO and many personal projects including several environmental designs.