How Many Times A Year Do People Get Sick

2.1" The evolution of graphic design and advertising in Italy "

wave of renewal of the academic style is the moment in Vienna some artists feel the need to reverse the traditional rule has always been established, thus inaugurating the season of the Viennese Secession.
The strong decorative style that was outlining the Viennese Secession characterized the world of industrial and handicraft: from joinery and glass work, ceramics from the steel wheels, from fine fabrics to graphics (also fits into this trend, the advertising poster).
In the early twentieth century with the development of industry led to a standardization of production and thus spread all items strictly equal and no personality.
movement was founded 's Art Nouveau (new art), which in Italy was named as "Liberty", which was to redefine the function of the object in that series, which is the product of industrial society. Give a
artistic dignity to the industrial product was a need born primarily by the formation of new aesthetic level of the middle and lower middle class, the class that arose at that time, until now excluded from the purchase of products of superior craftsmanship, and secondly the 'was to create art that was completely in step with new expectations with the scientific and social progress. From the experience of
William Morris and his "Arts and Crafts Exhibition Society, an association founded in 1888 by art and craft that developed a reconciliation between work and art for the production of items to be purchased by using the less abject, the 'Art Nouveau' uses it own making the taste of the belle époque soon that will prepare the First World War.
In the emerging society of consumer goods and a very important role was the development of advertising.
same time the opportunities of the press, thanks to the chromolithograph (the technique of color printing was born in 1833) were fully exploited in advertising. Many were artists who engage in advertising thanks to the effectiveness of communication offered by the printing color.
Eduard Manet in 1868 published the manifesto "Les chats" to the eponymous book written by Champfleury for the high quality graphic image, this poster can be considered an important step in the evolution of advertising.

Manifesto for the book with an illustration of Champfleury "Meeting of cats" by Edouard Manet, 1868

The evolution of the billboard coincided with the implementation and opera artists such as Jules Cheret with "Folies Bergere" (1881) and "Expositions incoherents universelle des arts" (1889), considered the father of the modern poster, and Henri Toulouse-Lautrec with "Babylonne d'Allemagne" (1894) and "Jane Avril "(1899).

Manifesto "Folies Bergere" by Jules Cheret, 1881

Manifesto "Jane Avril" by Henri Toulouse-Lautrec, 1899

In Italy in the early twentieth century some artists through workshops graphics Ricordi of Milan had to create some posters to promote worldwide the plays with the skill and ingenuity of excellent advertising as Leonetto Cappiello (author of " poster-mark "modern invention where the product and the brand is so recognizable even by illiterate people like the woman from the green dress for chocolate Klaus (1903), zebra red Vermouth Cinzano (1910), and the goblin that comes from orange for Bitter Campari (1921), Marcello Dudovich, Mary Slaughter Pants , Luciano Achille Mauzan and Seneca.

One of the posters of Leonetto Cappiello-mark "Vermouth Cinzano, 1910

With the beginning of the century 900 the combination of art / advertising is becoming more appropriate: the artists begin to establish a deep well line with the advertising, we bring this to the test using different art as a place to express themselves and experiment, including their innovative nature. By Giacomo Puccini in 1910 that became deeply involved in writing poems that advertise the toothpaste "Odol" Gabriele D'Annunzio, who originally created the name of the Milan "Rinascente" but over the years you will pay to advertise certain products.

The first posters who deserve relevance consist of collages, a technique that comes from " Cubism" artists such as Pablo Picasso with "Au Bon Marché" (1913), Georges Bracque and Juan Gris that include the letters and pieces of cloth brands of commercial products.

Advertising "Au Bon Marché" of "Pablo Picasso, 1913

also in the future have a very close relationship with advertising, but unlike" Cubists' use it with a strategic awareness able to attract attention from the first publication of the "Futurist Manifesto" signed by Filippo Tommaso Marinetti that appears in the French daily "Le Figaro" in 1909, the motion will pass by the billboard posters to flyers, by newspaper advertisements propaganda events of the famous "evenings to come," almost always ended in fights and with the intervention of the police. In short, the first Italians to celebrate the charm of advertising and in some cases use this as an expression of its culture industry since the second decade.
If the close connection between art and advertising has been especially felt in our country's future through the use of unconditional writing, graphics, image, architecture and design has built up a close relationship between industrial civilization that prefers speed and simultaneity, joining together and forming technology and artistic beauty. Without faith in the need of a breach of traditionalism, the movement matured the idea of \u200b\u200ban all-encompassing art: where in the first place there is the killing of the very important subject areas and secondly, starting from its own future, and the overcoming of the division between art and life.
The theoretical foundations of the future is developed not only through the massive experiment in unknown areas but above all implode in all forms of expression. In addition to manifest many of the artists follow each other manifest in other disciplines, from literature to painting and sculpture, music, photography, cinema and cuisine, theater and fashion. The central problem of Futurism the representation of movement and expression changing the dimension of time, proportionate to the problem and the changes that were taking place at that time. The role of change is not only material, a symptom of a society that is changing, but sopprattutto spiritual Marinetti calls for a change not only "immediate and powerful", proclaimed the manifesto, even the artists themselves Giacomo Balla and Umberto Boccioni were
charming all that you can reconnect to the movement stands for modernity: the flow of movement, cities, people, speed, machines and simultaneity, all these things is the source of ideas and experiments for these artists.
The maverick spirit of the future has helped to pioneer the widespread attitudes that were later developed in the rest of the European avant-garde. In France there was the experience of Cubism, and the works of SEROUT, the colors of the Fauves and the achievements of the Cubist paintings were certainly a response to the works of the Futurists. On 15 February 1912 was inaugurated the first exhibition with thirty-four Futurist works, shalt recover the sympathy of the likes of Marcel Duchamp, Fernand Leger, Francis Picabia, Robert and Sonia Delunay. Then the show moved to Ighilterra and April of that year at the Sackville Gallery in London, but despite the influx of visitors shows not received a great success, perhaps because he was still the post-impressionism to have more the better, but only after two years came the vortex, in some respects in line with the points of Futurism. In Germany it is still too early for the Italian movement can be accommodated, is booming Expressionism, while in Spain and Portugal Russia Futurism developed in the literature. In the Far East, namely Japan, the Futurist aesthetic solutions are a compromise with its own visual tradition, often creating works where the written word is expressed, together with the characters, with a double significato.Ma back in Italy.
With the invention of Marinetti's "Parole in freedom "can certainly say that the future also exploits the graphical model in the poetry of the billboards: starting the destruction of syntax and punctuation, since the abolition of adjectives and adverbs, the use of verbs in the infinitive to get to creation of a new code of communication through the graphic arrangement of lines completely visible, are the preferred typefaces, and space management page.

"Mountain valleys + roads + Joffre x" by Thomas F. Marinetti, 1915

The same Filippo Tommaso Marinetti, leader ideological
and key figure in the movement seems to have written in the thirties to the SNIA Viscose advertising poems like "The Poem of the dress of milk in 1937 and" The Poem of Viscose Tower "in 1938;

"The poem from the suit of milk" F. Tommaso Marinetti, 1937

besides him also to be mentioned with Ferraiae N. Farfa Diulgheroff with Fiat for Balilla.

Diploma of the "House Art Futurist, 1933

The Futurist artist, it should be noted that most of the others in the field of commercial art, is without Fortunato Depero doubt that in 1931 he wrote: "The art of the future will be powerfully advertising." Meanwhile in 1915 he wrote and signed with Balla, "Futurist Reconstruction of the Universe", and in 1919 founded the "House of Art Futurist" where he created some advertising, high-impact still considered modern.
In the early thirties as well as sign the manifesto "The Futurist art advertising" is working for the company Davide Campari, where among other things, there are the likes of artists like Leonetto Capiello, Marcello Zizzola, Sinop .
In the same year some members of the Russian Futurism devoted to advertising: are an example of the poet Vladimir Mayakovsky and Alexander Rodchenko painter photographer: around 1923 give life to society "Publiconstructeur" .. Some artists
Dadaists like Kurt Schwitters and Man Ray founded the advertising agency "Merz Werbezentrale. René Magritte founded in Brussels in 1930 an advertising studio: Studio Dongo, where along with his brother makes a lot of images used for both posters for executives.