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* Showcases the textiles design work of Czech designer Jacqueline Groag Jacqueline Groag was probably the most influential textile designer in Britain in the post Second World War era. Although originally Czech, she studied textile and pattern design in Austria in the 1920s. During the late twenties and early thirties she designed textiles for the Wiener Werkstatte in Vienna and subsequently designed and produced unique hand printed lengths of fabrics for many of the leading Parisian fashion houses, including Chanel, Lanvin, Worth, Schiaparelli and Paul Poiret. She was awarded a gold medal for textile design at the Milan Triennale in 1933 and another gold medal for printed textiles at the Paris World Fair in 1937. Jacqueline was not only a serious and highly respected contender in the field of textile and pattern design but, with her husband, the Modernist architect Jacques Groag, was also deeply immersed in the intellectual life of Vienna. In 1938 the sophisticated world of Jacques and Jacqueline was brutally shattered when the Anschluss, the political unification of Austria and Germany, occurred and the German army entered Vienna. Faced with the actuality of the Nazi terror the Groags, who were Jewish, fled to Czechoslovakia and their home city of Prague. After a brief respite they were once more forced to flee in 1939, this time to London. On their arrival in England they were welcomed and championed by leading members of the British design fraternity, amongst whom were Sir Gordon Russell, the doyen of British architects Sir Charles Reilly and Jack Pritchard, founder of the modernist design company, Isokon. From 1940 until her death in 1986, Jacqueline had a long and successful career. Much of the Contemporary style of the textiles and wallpapers shown at the 1951 Festival of Britain were heavily indebted to her influential designs of the 1940s. Many examples of her work were featured prominently at the Festival and from then on she became a major influence on pattern design internationally. She developed a large client group in the United States during the fifties and sixties, amongst whom were Associated American Artists, Hallmark Cards and American Greetings Ohio.In the later 1950s and throughout the 1960s she became increasingly involved with Sir Misha Black and the Design Research Unit (D.R.U.), working on the interiors for boats and planes and trains, particularly the design of textiles and plastic laminates for BOAC and British Rail. One of her last commissions from Misha Black, in the mid-seventies was a distinctive moquette for London Transport, for seating on both buses and tube trains. Her work and influence did not just extend to the large corporations and exclusive couturiers but was familiar to the general public through stores and companies such as John Lewis, Liberty of London, David Whitehead, Edinburgh Weavers, Sandersons, Warerite and Formica. Her remarkable achievement finally received public recognition in 1984 when, at the age of 81, she was made an R.D.I. - a Royal Designer for Industry - the ultimate accolade for any designer in Britain.
Czech-born Jacqueline Groag (1903-1985) was an incredibly adept textile designer who trained at the Kunstgewerbeschule in Vienna during the 1920s under Franz Cisek and Josef Hoffmann. She produced textile designs for the Wiener Werkstatte and some of the Parisian fashion houses while she lived in Vienna. She married the architect and interior designer Jacques Groag - they made a successful team. However, in 1939 they were compelled to emigrate to the UK. Jacqueline Groag continued to produce textile design work for the British market, and after the war her designs could be seen at numerous outlets such as David Whitehead, Grafton, John Lewis and Liberty. For more than 20 years she worked as a freelance designer, supplying designs for carpets, greetings cards, laminates, plastics, textiles, wallpapers and wrapping papers to many firms including Bond-Worth Carpets, British European Airways, the British Overseas Airways Corporation, Dunlop, ICI and London Transport. In 1984 she became a Fellow of the Faculty of Royal Designers for Industry. She was a prodigious and successful designer to the end of her life. Along with Lucienne Day and Marian Mahler she is seen as central to a new and exciting development in textile design in the 1950s. Together their work is featured in a major exhibition 'Designing Women' which begins in Colorado Springs in September 2008. This is a ground breaking publication on the work of this highly important and influential designer.
"Twentieth-Century Pattern Design combines photographs - including many newly published images - with soundly researched text, creating an essential resource for enthusiasts and historians of modern design. The book also serves as a creative sourcebook for students and designers, inspiring new flights of fancy in pattern design."--Jacket.
"This stunning book offers a unique perspective on textile designs... a beautiful document of the partnership between artists and manufacturers. Those interested in textiles as well as students of design will find it refreshing and inspirational." Librar
Hailed as the British counterparts to Charles and Ray Eames, Robin and Lucienne Day electrified the British design scene in the 1950s with their startling furniture and textile designs. Indeed, their influence over the next five decades has been so profound that their early products were recently reintroduced by Conran's Habitat. Lucienne Day pioneered the introduction of modern abstract pattern design in the textile industry. Her fabrics, which oscillate between bold geometric figures and more subtle abstract patterns, were produced by companies as diverse as Heal's and Liberty of London. Robin Day's influential furniture designs pioneered the use of materials such as plywood, steel, and plastic. His stacking polypropylene chair (right) is one of the best-selling chairs in the world. Robin and Lucienne Day, the first-ever full-length monograph on their designs, features never-before-seen archival material along with over 250 color images of the full range of their work, including furniture, ceramics, textiles, wallpaper, interiors, appliances, exhibit designs, and graphics. Spanning a half-century's creative output, no designer will fail to be awed by the genius seen in this book.
Presents a selection of more than 100 furnishing textiles and designs that range from a spectacular printed hanging designed by the Wiener Werkst, tte artist, Dagobert Peche, between 1911 and 1918, to a series of dramatic woven, silk and metal wall coverings Les Colombes designed by Henri Stephany for the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes. The Art Deco period is well represented by the works of Raoul Dufy, Alberto Lorenzi, Robert Bonfils, Alfred Latour, Emile Alain Seguy and Paul Dumas. Although the majority of pre-Second World War textiles are of French origin, the exhibition also includes some rare British furnishing fabrics from the 1930s, in particular the iconic and very elegant Magnolia Leaf by Marion Dorn, woven in off-white and silver viscut by Warner & Sons in 1936. During this period, Britain attracted talented European designers, such as Jacqueline Groag and Marian Mahler who had trained with Josef Hoffmann at the Vienna Kunstgewerbeschule.
"Originally published in Great Britain by Persephone Books"--Title page verso.
In 1938, Vienna lost its best and most creative minds. This rupture was manifested in all of the arts and sciences and its mark is felt to this day – not least in the field of furniture design. With inexhaustible creativity the Jewish furniture designers who were forced to flee Vienna continued to work while in exile. They taught at the best universities and spread their ideas and vision throughout the entire world. Their creations became classics of twentieth-century furniture design, the epitome of mid-century modern style. This book honors the memory of the exiled designers with a thorough overview of their work. It details their life stories and their visionary designs, which remain as relevant and contemporary as ever, and brings to light new aspects of the history of Viennese furniture design.
A visual and comprehensive guide to a hugely popular graphic style. The distinctive aesthetic of mid-century design captured the post-war zeitgeist of energy and progress, and remains hugely popular today. In Mid-Century Modern Graphic Design Theo Inglis takes an in-depth look at the innovative graphics of the period, writing about the work of artists and designers from all over the world. From book covers, record covers and posters to advertising, typography and illustration, the designs feature eye-popping colour palettes, experimental type and prints that buzz with kinetic energy. The book features artworks from a wide selection of international designers and illustrators whose work continues to inspire and influence today, including Ray Eames, Paul Rand, Alex Steinweiss, Joseph Low, Alvin Lustig, Elaine Lustig Cohen, Leo Lionni, Rudolph de Harak, Abram Games, Tom Eckersley, Ivan Chermayeff, Josef Albers, Corita Kent, Jim Flora, Ben Shahn, Herbert Bayer and Helen Borten. Theo draws from a broad range of sources including advertising, magazine covers, record sleeves, travel posters and children’s book illustration to show the development of the design style globally, and how this continues to influence design today. The book is packed with hundreds of colour illustrations, including classic designs, such as Saul Bass’ film posters and Miroslav Šašek’s children’s books, alongside lesser-known gems.