ARTS AND ARCHITECTURE: December 1945
Staff Photographer Julius Shulman's Copy
John Entenza [Editor], Herbert Matter [Cover Designer]
John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 62, number 12, December 1945. Original edition. Slim folio. Stapled printed wrappers. 56 pp. Illustrated text and articles. Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time). Layout and typography by Robin Park. Staff photographer Julius Shulman’s mailing label to front panel with cancelled postage stamp. Wrappers lightly rubbed and worn: a very good copy with an exceptional provenance.
9.75 x 12.75 vintage magazine with 56 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1945. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.
Contents:
- Articles
- Report On Creative Life In Berlin: Robert Joseph
- Approach To Space: Benjamin Baldwin and Jim Davis
- Exploration Of New Film Techniques: Jay Leyda
- Adventure In Education: Edwin and Molly Morgenroth
- Architecture
- Small Modern Shop By Sumner Spaulding & John Rex
- Case Study Houses Nos. 8 and 9: Charles Eames and Eero Saarinen. Exceptional 9-page illustrated essay outlining the plans of building CSH 8 and 9 with the original the Bridge House configurations. Uncredited graphic design by the Eames Office.
- Special Features
- Who Am I? Preview of the Lilly Saarinen childrens’ book.
- Art
- Books
- Cinema
- Music
- Notes in Passing
- State Association Of California Architects
- Official Building Industry Directory
- and more.
The Eames House, Case Study House #8, was one of 25 homes built as part of The Case Study House Program. The program came into being in the mid-1940s and continued through the early 1960s, largely through the efforts of John Entenza, publisher of Arts and Architecture magazine. The magazine announced that it would be the clients for a series of architect-design homes to be built and furnished using materials and techniques derived from the experiences of the second World War and best suited to express man's life in the modern world. Each home built would be for a real or hypothetical client taking into considerations their particular housing needs.
Charles and Ray proposed that the home they designed would be for a married couple who were basically apartment dwellers working in design and graphic arts, and who wanted a home that would make no demands for itself, but would, instead serve as a background for as Charles would say, "life in work" with nature as a "shock absorber."
The first plan of their home, known as the Bridge House, was designed by Charles Eames and Eero Saarinen in 1945. Because it used off-the-shelf parts ordered from catalogues, and the war had caused a shortage in materials delivery, the steel did not arrive until late 1948. By then, Charles and Ray had "fallen in love with the meadow," in Ray's words, and felt that the site required a different solution.
Charles and Ray then posed themselves a new problem: How to build a house with maximized volume with the same elements and not destroy the meadow. Using the same off-the-shelf parts, but ordering one extra steel beam, Charles and Ray re-configured the House. It is this design which was built and remains today.
Charles and Ray moved into the House on Christmas Eve, 1949, and lived here for the rest of their lives. The interior, its objects and its collections remain very much the way they were in Charles and Ray's lifetimes. The house they created offered them a space where work, play, life, and nature co-existed.
The House has now become something of an iconographic structure visited by people from around the world. The charm and appeal of the House is perhaps best explained in the words of Case Study House founder, John Entenza, who felt that the Eames House "represented an attempt to state an idea rather than a fixed architectural pattern."
Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.
American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.
The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.
Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.
“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]
In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.
One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.
Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.
"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.
In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.
During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."
In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.