3 edition of E. McKnight Kauffer. found in the catalog.
|The Physical Object|
|Pagination||xvi, 90 p. :|
|Number of Pages||79|
nodata File Size: 6MB.
Characterization of selected radionuclides in sediment and surface water in Standley Lake, Great Western Reservoir, and Mower Reservoir, Jefferson County, Colorado, 1992
[Further papers relative to the recent Arctic expeditions in search of Sir John Franklin and the crews of H.M.S. Erebus and Terror]
McKnight Kauffer and Marion Dorn mid-1920s photographer unknowngelatin silver print; approx. Beginning his professional life as a painter, Kauffer soon embraced poster art as a form of visual communication, enabling the public to view Modern Art through the display of his posters on the streets.
Except for a few commissions to design theatre posters, "America was not ready for him," wrote Frank Zachary in Portfolio 1 1949.
Their treatment of the landscape differed: the French tried to evoke the classical landscape of ancient Greece and Rome in a highly stylised and artificial manner; the Dutch tried to paint the surrounding fields, woods and plains in a more realistic way. In England, Kauffer became a well respected designer. In the spring of 1922 Kauffer returned to London with Marion Dorn, American textile designer.
In the early 1900s, Kauffer lived in E. McKnight Kauffer. Francisco and worked as a bookseller whilst studying at Art School in the evenings. A small exhibition of Kauffer's paintings was held at the Elder Art Rooms.
Ranger - - 1925, Gouache. Kauffer was a modern designer for modern life. In 1921 Kauffer would move to New York City leaving his wife and daughter.
In America, however, the essential Modern poster with its symbolic imagery and sparse selling copy, which Kauffer helped pioneer, was acceptable on a museum wall, but not on the street.
He went to Paris to study painting and at the outbreak of World War I, he moved to London.
In early paintings the landscape was a backdrop for the composition, but in the late 17th Century the appreciation of nature for its own sake began with the French and Dutch painters from whom the term derived.