Herbert Bayer, (1900-1985), is an Austrian-American graphic artist, painter, and architect, influential in spreading European principles of advertising in the United States.
Herbert Bayer is one of the individuals most closely identified with the famous Bauhaus program in Weimar, Germany. Together with Walter Gropius, Laszlo Moholy-Nagy, and Wassily Kandinsky, Bayer helped shape a philosophy of functional design that extended across disciplines ranging from architecture to typography and graphic design. Endowed with enormous talent and energy, Bayer went on to produce an impressive body of work, including freelance graphics commissions, Modernist exhibition design, corporate identity programs, and architecture and environmental design.
He was born in Haag, Austria, and apprenticed in a local architectural design and graphic arts studio. By 1920 he was in Germany and a year later enrolled in a recently established, state-funded school of design called the Bauhaus. Then located in Weimar, the Bauhaus came to represent an almost utopian ideal that "modern art and architecture must be responsive to the needs and influence of the modern industrial world and that good designs must pass the test of both aesthetic standards and sound engineering." (www.restorations.net/bauhaus/bauhaus.htm)
Though Bayer came to the Bauhaus as a student, he stayed on to become one of its most prominent faculty members. His design for a new Sans-serif type called Universal helped to define the Bauhaus aesthetic.
He left in 1928 and moved to Berlin where he opened a graphic design firm whose clients included the trend-setting magazine Vogue. During this period, he also created or art-directed a number of memorable exhibitions. As with other designers of his generation, Bayer became alarmed over the increasingly repressive political situation in Germany and finally left in 1938 for New York. Within a short period of time, he was well-established as a designer and, among other achievements, had organized a comprehensive exhibition at MoMA on the early Bauhaus years. He also formed important connections with the publishers of Life and Fortune magazines, General Electric, and Container Corporation of America. CCA's chief executive, Walter Paepcke, became an important patron of Bayer's in the years to come, beginning with an invitation to move to Aspen, Colorado, to become a design consultant for the company. Bayer also supervised the architectural design of the new Aspen Institute, and then many of its program graphics. Bayer remained in Aspen until 1974, when he moved to California. There he worked on various environmental projects until his death in 1985.
© 2018. All images are copyrighted © by Herbert Bayer or assignee. The use of any image from this site is prohibited unless prior written permission is obtained.
Herbert Bayer is one of the individuals most closely identified with the famous Bauhaus program in Weimar, Germany. Together with Walter Gropius, Laszlo Moholy-Nagy, and Wassily Kandinsky, Bayer helped shape a philosophy of functional design that extended across disciplines ranging from architecture to typography and graphic design. Endowed with enormous talent and energy, Bayer went on to produce an impressive body of work, including freelance graphics commissions, Modernist exhibition design, corporate identity programs, and architecture and environmental design.
He was born in Haag, Austria, and apprenticed in a local architectural design and graphic arts studio. By 1920 he was in Germany and a year later enrolled in a recently established, state-funded school of design called the Bauhaus. Then located in Weimar, the Bauhaus came to represent an almost utopian ideal that "modern art and architecture must be responsive to the needs and influence of the modern industrial world and that good designs must pass the test of both aesthetic standards and sound engineering." (www.restorations.net/bauhaus/bauhaus.htm)
Though Bayer came to the Bauhaus as a student, he stayed on to become one of its most prominent faculty members. His design for a new Sans-serif type called Universal helped to define the Bauhaus aesthetic.
He left in 1928 and moved to Berlin where he opened a graphic design firm whose clients included the trend-setting magazine Vogue. During this period, he also created or art-directed a number of memorable exhibitions. As with other designers of his generation, Bayer became alarmed over the increasingly repressive political situation in Germany and finally left in 1938 for New York. Within a short period of time, he was well-established as a designer and, among other achievements, had organized a comprehensive exhibition at MoMA on the early Bauhaus years. He also formed important connections with the publishers of Life and Fortune magazines, General Electric, and Container Corporation of America. CCA's chief executive, Walter Paepcke, became an important patron of Bayer's in the years to come, beginning with an invitation to move to Aspen, Colorado, to become a design consultant for the company. Bayer also supervised the architectural design of the new Aspen Institute, and then many of its program graphics. Bayer remained in Aspen until 1974, when he moved to California. There he worked on various environmental projects until his death in 1985.
© 2018. All images are copyrighted © by Herbert Bayer or assignee. The use of any image from this site is prohibited unless prior written permission is obtained.
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| Mr Herbert Bayer |
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| Bauhaus poster |
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| 1924, Design for a Cigarette Pavilion |
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| 1924, Design for newspaper stand |
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| 1925, Assuh Zigarette |
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| 1925, Catalog of Patterns, title page |
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| 1926, Invitation to the inauguration of the Bauhaus building |
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| 1927, Ausstellung Europäisches Kunstgewerbe |
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| 1927, Ausstellung Europaisches |
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| 1927, Cover of Bauhaus Dessau college of design, prospectus |
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| 1927, Schlesisches Heim," issue 1/2 |
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| 1928, Bauhaus Magazine Cover |
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| 1930, Diagram of the Field of Vision |
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| 1932 Calendar cover |
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| 1932, Lonely Metropolitan |
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| 1936, Deutschland Ausstellung |
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| 1938, Envisioning Architecture |
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| Harper's Bazaar, August 1940 |
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| 1940, Noreen |
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| 1953, Poster, Divisumma |
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| 1953, World Geographic Atlas cover (For CCA) |
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| 1953, World Geo-graphical Atlas: great Britain, Scandinavia (For CCA) |
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| 1953, World Geo-graphical Atlas: Soil types (For CCA) |
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| 1953, World Geo-graphical Atlas: World population (For CCA) |
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| 1953, World Geo-graphical Atlas: Europe (For CCA) |
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| 1953, World Geo-graphical Atlas: Geology (For CCA) |
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| 1953, World Geo-graphical Atlas: Natural vegetation (For CCA) |
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| 1953, World Geo-graphical Atlas: Physiographic map (For CCA) |
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| 1953, World Geo-graphical Atlas: Table of contents, key and outline (For CCA) |
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| 1953, World Geo-graphical Atlas: Texas (For CCA) |
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| 1953, World Geo-graphical Atlas: World economics (For CCA) |
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| 1953, World Geo-graphical Atlas: Maine (For CCA) |
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| 1953, World Geo-graphical Atlas: The future (For CCA) |
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| 1953, World Geo-graphical Atlas: Solar System (For CCA) |
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| 1964, Great Ideas of Western Man |
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| 1968, Poster Bauhaus |
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| 1969, A 20 piece porcelain tea service |
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| 1970, Chromatic Intersection |
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| 1970, Chromatic Triangulation II |
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| 1970, Chromatic Twist |
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| 1970, Complementary with Gold |
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| 1970, Four Chromatic Intersections on Gold painting |
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| 1971, chromatic amassment |
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| 1973, Double Ascension |
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| 1973, Egress with appendix |
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| 1974, Composition Around Green Dot (1 of 2) |
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| 1976, Squares and their Triangles |
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| 1979, Al-Aqsa II |
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| 1986, Articulated Wall |
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| 1990, Herbert Bayer The California Years |
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| Container Corporation of America: Billions of powdered eggs |
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| Container Corporation of America: Fire Steals |
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| Container Corporation of America: Waste paper to package |
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| Container Corportation of America: Old-new |
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| Container Corportation of America: Ugly Duckling of the Office |
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| Freedom of the Seas |
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