Herbert Bayer | |
|---|---|
| Born | (1900-04-05)April 5, 1900 |
| Died | 30 September 1985(1985-09-30) (aged 85) Montecito, California, U.S. |
| Nationality | Austrian,American |
| Education | Weimar Bauhaus |
| Spouse(s) | Irene Bayer-Hecht (1925-1944), Joella Synara Haweis (1944-1985) |
Herbert Bayer (April 5, 1900 – September 30, 1985) was an Austrian and Americangraphic designer, painter, photographer, sculptor, art director, environmental and interior designer, andarchitect. He was instrumental in the development of theAtlantic Richfield Company's corporate art collection until his death in 1985.
Bayer apprenticed under the artist Georg Schmidthammer inLinz. Leaving the workshop to study at theDarmstadt Artists' Colony, he became interested inWalter Gropius'sBauhaus manifesto. After Bayer had studied for four years at theBauhaus[1] under such teachers asWassily Kandinsky,Paul Klee[2] andLászló Moholy-Nagy, Gropius appointed Bayer director ofprinting andadvertising.
In the spirit of reductive minimalism, Bayer developed a crisp visual style and adopted use of all-lowercase,sans seriftypefaces for most Bauhaus publications.[3] Bayer is one of several typographers of the period includingKurt Schwitters andJan Tschichold who experimented with the creation of a simplified more phonetic-based alphabet. From 1925 to 1930, Bayer designed a geometric sans-serif titledProposal for a Universal Typeface (Herbert Bayer, universal) that existed only as a design and was never actually cast into real type.[4] These designs are now issued in digital form as Bayer Universal (P22 Type Foundry Bauhaus Set). The design also inspired ITC Bauhaus andArchitype Bayer, which bears comparison with the stylistically related typefaceArchitype Schwitters.
In 1923 Bayer met the photographerIrene Bayer-Hecht at the first large Bauhaus exhibit in Weimar. They married in 1925, separated in 1928, had a daughter, Julia Alexandra, in 1929, and divorced in 1944.[5][6]
In 1928, Bayer left the Bauhaus to becomeart director ofVogue magazine'sBerlin office.[1] He remained in Germany far later than most other progressives. In 1936 he designed a brochure for theDeutschland Ausstellung, an exhibition for tourists in Berlin during the 1936 Olympic Games – the brochure celebrated life inNazi Germany, and the authority of Hitler. However, in 1937, works of Bayer's were included in the Nazi propagandaexhibition "Degenerate Art", upon which he left Germany. Upon fleeing Germany, he traveled inItaly.[2]
In 1944 Bayer married Joella Synara Haweis, the daughter of poet andDada artistMina Loy. The same year, he became a U.S. citizen.[7]
In 1946 the Bayers relocated. Hired by industrialist and visionaryWalter Paepcke, Bayer moved toAspen, Colorado as Paepcke promoted skiing as a popular sport. Bayer's architectural work in the town included co-designing theAspen Institute and restoring theWheeler Opera House, but his production of promotional posters identified skiing with wit, excitement, and glamour.
In 1959, he designed his "fonetik alfabet", aphonetic alphabet, for English. It was sans-serif and without capital letters. He had special symbols for the endings-ed,-ory,-ing, and-ion, as well as thedigraphs "ch", "sh", and "ng". An underline indicated the doubling of a consonant in traditional orthography.
While living in Aspen, Bayer had a chance meeting with the eccentric oilman, outdoorsman and visionary ecologist,Robert O. Anderson. When Anderson saw the ultra-modern, Bauhaus-inspired home that Bayer had designed & built in Aspen, he walked up to the front door and introduced himself[citation needed]. It was the beginning of a lifelong friendship between the two men and instigated Anderson's insatiable passion for enthusiastically collecting contemporary art.
With Anderson's eventual formation of theAtlantic Richfield Company, and as his personal art collection quickly overflowed out of his New Mexico ranch and other homes,ARCO soon held the unique distinction of possessing the world's largest corporate art collection, under the critical eye and sharp direction of Bayer as ARCO's Art and Design Consultant.
Overseeing acquisitions forARCO Plaza, the newly built (1972) twin 51-story office towers in Los Angeles that served as the new company's corporate headquarters, Bayer was also responsible for the ARCO logo and designing all corporate branding related to the company. Prior to the completion of ARCO Plaza, Anderson commissioned Bayer to design a monumental sculpture-fountain to be installed between the dark green granite towers. Originally titled "Stairway to Nowhere" Anderson laughed[citation needed], but felt the Shareholders wouldn't see the irony; thus he suggested it be namedDouble Ascension and it still stands between the twin skyscrapers today.
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Under Bayer's direction, ARCO's art collection grew to nearly 30,000 works nationwide, managed by Atlantic Richfield Company Art Collection staff. ARCO's collection was eclectic, and consisted of an extremely wide range of media & styles; ranging from contemporary and earlier paintings, sculpture, works on paper (including drawings, watercolors and signed original lithographs, etchings and serigraphs) and signed photographs to tribal and ethnic art from many cultures, as well as historic prints and artifacts, all displayed throughout ARCO's buildings in Los Angeles and several other cities. Three years after ARCO was taken over byBP in 2000, that company's then-chairman, Lord Brown, personally ordered ARCO's art collection liquidated. It was sold through Christie's and LA Modern Auctions.Bayer made provisions to donate, after his death, a collection of his works which had been housed in ARCO's conference center in Santa Barbara to the Los Angeles County Museum of Art. The works have been loaned previously to theDenver Art Museum. He was elected a Fellow of theAmerican Academy of Arts and Sciences in 1979.[8]
Bayer's works appear in prominent public and private collections including theMIT List Visual Arts Center. Bayer designed theMill Creek Canyon Earthworks, an environmental sculpture located inKent, Washington.
In 2019, the philanthropists and entrepreneursLynda andStewart Resnick donated $10 million to the nonprofitAspen Institute for a center dedicated to Bayer that will be located on the Institute's Aspen Meadows campus, which Bayer designed. The facility, the Resnick Center for Herbert Bayer Studies, is to have galleries, educational programs, and an overall aim to provide tools for the preservation and study of Bayer's work.[9]
Herbert Bayer was the architect for theModern Art Museum of Fort Worth, in Fort Worth, Texas. The institution moved to its new location designed by architectTadao Ando in 2002. The building, owned by the City of Fort Worth, is now the Fort Worth Community Arts Center,[10] which features seven galleries highlighting regional and national artists.
Media related toHerbert Bayer at Wikimedia Commons
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