This is reflected in his involvement in the publishing project of the Almanacco dell’Italia veloce, which was supposed to be a ‘presentation of ideas, events and commercial products’ of Italy at that time. The Futurist movement had had an important role in the reappraisal of graphic design and advertisement as a modern art form, which enabled artists to forge a strong relationship with reality and with the public, experiment with innovative artistic materials and forms that represented a break with the past, and create a new urban aesthetics.īruno Munari was a key figure of the Futurist work and experimentations with advertising and graphic design. He was praised by Marinetti as a promising young artist, and later by him indicated as the leader of the Milanese group. In 1926, he was introduced to Marinetti and to the Milanese Futurist group, and started getting involved with the Milanese Futurist scene. In the early period of his production Munari was influenced by the so-called Second Futurism, which is evident in both works which we analyse here. The group called itself ‘Gar’ (Gruppo amici della razionalizzazione) in 1931, and included Guido Mazzali, Erberto Carboni, Marcello Dudovich, Marcello Nizzoli, and Carlo Dradi (Carotti 2014, 164-171). Since the end of the 1920s, he was part of a group of industrials, graphic designers, journalists and technicians who organized meetings in Milan, to discuss ‘all aspects of the rationalization of company work’, with particular emphasis on modern developments of advertisement and graphic design. His interest in new artistic forms that could establish a strong connection with the modern, industrial world drew him, since the beginning, to the field of advertisement and graphic design. The commitment to new, ‘popular’ forms of arts which he expresses in this excerpt, however, dated back to the beginnings of his artistic career. È necessario che l’artista abbandoni ogi aspetto romantico e diventi un uomo attibo fra gliĪltri uomini, informato sulle tecniche attuali, sui materiali e sui metodi di lavoro e, senza abbandonare il suo innato sensoĮstetico, risponda con umiltà e competenza alle domande che il prossimo gli può rivolgere. È necessario oggi, in una civiltà che sta diventando di massa, che l’artista scenda dal suo piedistallo e si degni di progettare Munari was a polyedric artist, a trailblazer, and an advocate of experimentation with new forms of arts which could be attuned to the developments of industry, the modern world, and mass culture. The Rationalization of Aesthetics: the Straight Line Main PrinciplesĪ New Theorization of the Relationship Between Subjectivity and Objectivity This definitely distances itself from the elegant, idealized figures which populated ads in the first two decades of the 20th century, and rather resemble the abstract, colourful ‘puppet-like’ figures of Depero’s art, especially advertisements see Depero's ads. Both works display the Futurist imprint that characterizes Munari’s early production, recognizable in the rationalized, geometric figures, the vivid colours, the playful character, and the modern graphic style. The second one is a sketch that should have been included in the volume L’Almanacco dell’Italia veloce, envisaged as a collection and celebration of the Futurist advertising imagination, which was never published due to financial difficulties. It was an advertisement for a Milanese refrigerator company, Radaelli, and was one of the earliest works of graphic design produced by Munari. The first one is and ad that Munari created for the Mauzan Morzenti Agency, the graphic design studio founded by French artist and illustrator Achille Lucien Mauzan. These two works belong to the early production of Bruno Munari. Bruno Munari Frigoriferi Radaelli (1926) Pubblicità a scoppio (1930)
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