The Amazing Engineering of Gauntlets (Armored Gloves) from the 16th Century

The phrase “to throw down the gaunt­let” means to issue a chal­lenge, and this is under­stood all over the Eng­lish-speak­ing world — even by those who have no idea what, exact­ly, a gaunt­let is. “The word itself comes from the French word gan­telet, and referred to the heavy, armored gloves worn by medieval knights,” writes History.com’s Eliz­a­beth Har­ri­son. “In an age when chival­ry and per­son­al hon­or were para­mount, throw­ing a gaunt­let at the feet of an ene­my or oppo­nent was con­sid­ered a grave insult that could only be answered with per­son­al com­bat, and the offend­ed par­ty was expect­ed to ‘take up the gaunt­let’ to acknowl­edge and accept the chal­lenge.”

How many of us, here in the twen­ty-first cen­tu­ry, have ever lit­er­al­ly tak­en up a gaunt­let? Adam Sav­age nev­er has, which may come as a sur­prise to fans of the for­mer Myth­Busters co-host and enthu­si­ast of com­bat tech­nolo­gies past, present, and future.

Or at least he had­n’t until mak­ing the new video above, which finds him in the Met­ro­pol­i­tan Muse­um of Art’s Arms and Armor con­ser­va­tion lab. There, armor­er Ted Hunter has opened up the muse­um’s “gaunt­let draw­er” and laid out an array of gen­uine exam­ples for Sav­age to take up, all of them made in Ger­many or Italy in the six­teenth cen­tu­ry.

Each of these gauntlets was made in a dif­fer­ent style, with details like a fine-meshed chain mail under­side (to make it eas­i­er to keep a grip on your sword) or even a lock­ing spring catch (to make it impos­si­ble to let go of your sword at all). Sav­age mar­vels at these fea­tures, but also the vis­i­bly painstak­ing crafts­man­ship that went into every aspect of these gauntlets’ con­struc­tion, which he has more than enough expe­ri­ence to under­stand. His enthu­si­asm and knowl­edge are evi­denced by the wealth of armor-relat­ed videos on his Youtube chan­nel, includ­ing a series about build­ing his own full suit of armor, a chal­lenge that it was inevitable he would set him­self against — a gaunt­let, in oth­er words, he both threw down and took up.

Relat­ed con­tent:

How to Make and Wear Medieval Armor: An In-Depth Primer

How Well Can You Move in Medieval Armor?: Medieval­ist Daniel Jaquet Gives It a Try in Real Life

How to Get Dressed & Fight in 14th Cen­tu­ry Armor: A Reen­act­ment

What It’s Like to Actu­al­ly Fight in Medieval Armor

What’s It Like to Fight in 15th Cen­tu­ry Armor?: A Sur­pris­ing Demon­stra­tion

Watch Adam Sav­age Build Barbarella’s Space Rifle in One Day

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Seattle Public Library Gives Students Free Digital Access to Books Getting Banned Across the United States

Accord­ing to a new report pub­lished by PEN Amer­i­ca, the “2022–23 school year has been marked to date by an esca­la­tion of book bans and cen­sor­ship in class­rooms and school libraries across the Unit­ed States.” PEN Amer­i­ca has tracked “1,477 instances of indi­vid­ual books banned, affect­ing 874 unique titles,” dur­ing the first half of this aca­d­e­m­ic year. That marks an increase of 28 per­cent com­pared to the pri­or six months, Jan­u­ary – June 2022.” The book ban­nings are tak­ing place in con­ser­v­a­tive-lean­ing states (main­ly, Texas, Flori­da, Mis­souri, Utah, and South Car­oli­na), and over­whelm­ing­ly, they’re tar­get­ing “sto­ries by and about peo­ple of col­or and LGBTQ+ indi­vid­u­als.”

For­tu­nate­ly, Amer­i­can pub­lic libraries are push­ing back. As men­tioned last sum­mer, the Brook­lyn Pub­lic Library launched Books Unbanned. This ini­tia­tive pro­vides Amer­i­can stu­dents, no mat­ter where they live in the U.S., free access to 500,000 dig­i­tal books, includ­ing books banned by stu­dents’ local libraries. And now the Seat­tle Pub­lic Library has joined the effort, rolling out its own ver­sion of Books Unbanned. “We believe in your right to read what you want, dis­cov­er your­self and form your own opin­ions,” writes the library. “Teens and young adults ages 13 to 26 liv­ing any­where in the U.S. can access our entire col­lec­tion of e‑books and audio­books.” To get start­ed, stu­dents can fill out the form at the bot­tom of this page (click here), and then explore these curat­ed lists of banned non-fic­tion books and banned fic­tion books.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book and BlueSky.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

The Brook­lyn Pub­lic Library Gives Every Teenag­er in the U.S. Free Access to Books Get­ting Cen­sored by Amer­i­can Schools

The New York Pub­lic Library Pro­vides Free Online Access to Banned Books: Catch­er in the Rye, Stamped & More

The 850 Books a Texas Law­mak­er Wants to Ban Because They Could Make Stu­dents Feel Uncom­fort­able

 

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The Pioneering Data Visualizations of William Playfair, Who Invented the Line, Bar, and Pie Charts (Circa 1786)

“If you see a pie chart pro­ject­ed twelve feet high in front of you, you know you’re in the hands of an idiot.” These words have stuck with me since I heard them spo­ken by Edward Tufte, one of the most respect­ed liv­ing author­i­ties on data visu­al­iza­tion. The lat­ter-day sins of pie-chart-mak­ers (espe­cial­ly those who make them in Pow­er­Point) are many and var­ied, but the orig­i­nal sin of the pie chart itself is that of fun­da­men­tal­ly mis­rep­re­sent­ing one-dimen­sion­al infor­ma­tion — a com­pa­ny bud­get, a city’s pop­u­la­tion demo­graph­ics — in two-dimen­sion­al form.

Yet the pie chart was cre­at­ed by a mas­ter, indeed the first mas­ter, of infor­ma­tion design, the late-eigh­teenth- and ear­ly-nine­teenth-cen­tu­ry Scot­tish econ­o­mist William Play­fair. Tufte includes Play­fair’s first pie chart, an illus­tra­tion of the land hold­ings of var­i­ous nations and empires cir­ca 1800, in his book The Visu­al Dis­play of Quan­ti­ta­tive Infor­ma­tion.

“The cir­cle rep­re­sents the area of each coun­try,” Tufte explains. “The line on the left, the pop­u­la­tion in mil­lions read on the ver­ti­cal scales; the line on the right, the rev­enue (tax­es) col­lect­ed in mil­lions of pounds ster­ling read also on the ver­ti­cal scale.” The dot­ted lines between them show, in Play­fair’s words, whether “the coun­try is bur­dened with heavy tax­es or oth­er­wise” in pro­por­tion to its pop­u­la­tion.

Play­fair was exper­i­ment­ing with data visu­al­iza­tion long before his inven­tion of the pie chart. He also came up with the more truth­ful bar chart, his­to­ry’s first exam­ple of which appeared in his Com­mer­cial and Polit­i­cal Atlas of 1786. That same book also con­tains the strik­ing graph above, of Eng­land’s “exports and imports to and from Den­mark and Nor­way from 1700 to 1780,” whose lines cre­ate fields that make the bal­ance of trade leg­i­ble at a glance. A much lat­er exam­ple of the line graph, anoth­er form Play­fair is cred­it­ed with invent­ing, appears just below, “exhibit­ing the rev­enues, expen­di­ture, debt, price of stocks and bread from 1770 to 1824,” a peri­od span­ning the Amer­i­can and French Rev­o­lu­tions as well as the Napoleon­ic Wars.

It’s safe to say that Play­fair lived in inter­est­ing times, and even with­in that con­text lived an unusu­al­ly inter­est­ing life. Dur­ing Great Britain’s wars with France, he served his coun­try as a secret agent, even com­ing up with a plan to coun­ter­feit assig­nats, a French cur­ren­cy at the time, in order to desta­bi­lize the ene­my’s econ­o­my. “Their assig­nats are their mon­ey,” he wrote in 1793, “and it is bet­ter to destroy this paper found­ed upon an iniq­ui­tous extor­tion and a vil­lain­ous decep­tion than to shed the blood of men.” Two years after the plan went into effect, the assig­nat was worth­less and France’s ship of state had more or less run aground. Play­fair’s mea­sures may seem extreme, but then, you don’t win a war with pie charts.

Relat­ed con­tent:

The Five Graphs That Changed the World: See Ground­break­ing Data Visu­al­iza­tions by Flo­rence Nightin­gale, W. E. B. DuBois & Beyond

The Art of Data Visu­al­iza­tion: How to Tell Com­plex Sto­ries Through Smart Design

Flo­rence Nightin­gale Saved Lives by Cre­at­ing Rev­o­lu­tion­ary Visu­al­iza­tions of Sta­tis­tics (1855)

Kurt Von­negut Dia­grams the Shape of All Sto­ries: From Kafka’s “Meta­mor­pho­sis” to “Cin­derel­la”

The 1855 Map That Rev­o­lu­tion­ized Dis­ease Pre­ven­tion & Data Visu­al­iza­tion: Dis­cov­er John Snow’s Broad Street Pump Map

W. E. B. Du Bois Cre­ates Rev­o­lu­tion­ary, Artis­tic Data Visu­al­iza­tions Show­ing the Eco­nom­ic Plight of African-Amer­i­cans (1900)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

A Star Wars Film Made in a Wes Anderson Aesthetic

Above, you can watch the Galac­tic Menagerie, “a whim­si­cal and visu­al­ly stun­ning fan-made fake trail­er that reimag­ines the clas­sic Star Wars uni­verse through the eccen­tric lens of Wes Ander­son. This enchant­i­ng mashup brings togeth­er icon­ic Star Wars char­ac­ters with Ander­son­’s trade­mark sym­met­ri­cal com­po­si­tions, pas­tel col­or palettes, and quirky humor.” There are also, of course, “pecu­liar loca­tions rem­i­nis­cent of Ander­son­’s beloved films such as Moon­rise King­dom and The Grand Budapest Hotel.” Enjoy!

Relat­ed Con­tent 

Wes Ander­son Goes Sci-Fi in 1950s Amer­i­ca: Watch the Trail­er for His New Film Aster­oid City

Wes Ander­son Explains How He Writes and Directs Movies, and What Goes Into His Dis­tinc­tive Film­mak­ing Style

How the Aston­ish­ing Sushi Scene in Wes Anderson’s Isle of Dogs Was Ani­mat­ed: A Time-Lapse of the Month-Long Shoot

A Com­plete Col­lec­tion of Wes Ander­son Video Essays

Watch a Traditional Japanese Carpenter Make 190+ Different Joints, All Without Nails, Screws, or Glue

Before the inter­net, it would have been hard to imag­ine that peo­ple around the world would one day be unable to get enough of tra­di­tion­al Japan­ese car­pen­try, and specif­i­cal­ly tra­di­tion­al Japan­ese join­ery. And before Youtube, who could have pre­dict­ed that videos show­ing each and every step of a wood­work­ing project — with­out nar­ra­tion, or indeed expla­na­tion of any kind — would find an enthu­si­as­tic view­er­ship? At the inter­sec­tion of these two sur­pris­ing phe­nom­e­na stands that chan­nel H Car­pen­ter, whose unadorned, method­i­cal, and detailed por­tray­als of wood­en joint-mak­ing have racked up mil­lions upon mil­lions of views.

In tra­di­tion­al Japan­ese join­ery, which we’ve fea­tured many times before here on Open Cul­ture, the car­pen­ter uses no nails, screws, or adhe­sives. Rather, he carves the ends of the pieces of wood to be joined into inter­lock­ing three-dimen­sion­al shapes that can hold sol­id for decades, or even cen­turies.

The biggest advan­tage of this tech­nique, writes a com­menter on one video, “is that it min­i­mizes the use of rust-prone nails and oth­er mate­ri­als, reduces dam­age to the wood, and damp­ens seis­mic shak­ing with unfas­tened joints” — always a con­sid­er­a­tion in earth­quake-prone Japan. “Fur­ther­more, the entire build­ing can be dis­as­sem­bled like Lego blocks, and only the dam­aged parts can be replaced and rebuilt as before.”

Like many oth­er Japan­ese tra­di­tions, this form of car­pen­try has been around for a long time indeed, and through the cen­turies has built up a for­mi­da­ble library of joints, many of them com­plex enough  not to be com­pre­hen­si­ble at first glance. With 193 videos on the rel­e­vant playlist so far, H car­pen­ter seems to have made a mis­sion of con­struct­ing all of them on Youtube not just to aid our under­stand­ing of their work­ings, but also to pro­vide us with the sen­so­ry plea­sures of the process itself. (A few mil­lion of his views are sure­ly account­ed for by ASMR enthu­si­asts alone.) Just like his fore­bears in the craft, he does it with­out using a sin­gle nail — as well, per­haps as a coun­ter­bal­ance to the chat­ter of the twen­ty-first cen­tu­ry, with­out speak­ing a sin­gle word.

Relat­ed con­tent:

The Art of Tra­di­tion­al Japan­ese Wood Join­ery: A Kyoto Wood­work­er Shows How Japan­ese Car­pen­ters Cre­at­ed Wood Struc­tures With­out Nails or Glue

Mes­mer­iz­ing GIFs Illus­trate the Art of Tra­di­tion­al Japan­ese Wood Join­ery — All Done With­out Screws, Nails, or Glue

See How Tra­di­tion­al Japan­ese Car­pen­ters Can Build a Whole Build­ing Using No Nails or Screws

Japan­ese Car­pen­ters Unearth 100-Year-Old Wood Joiner­ies While Tak­ing Apart a Tra­di­tion­al House

Build­ing With­out Nails: The Genius of Japan­ese Car­pen­try

Free Soft­ware Lets You Cre­ate Tra­di­tion­al Japan­ese Wood Joints & Fur­ni­ture: Down­load Tsug­ite

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

School Principal, Forced to Resign After Students Learn About Michelangelo’s “David,” Visits the Renaissance Statue in Florence

In March, a Flori­da school prin­ci­pal lost her job when 6th graders encoun­tered Michelangelo’s “David” dur­ing an art his­to­ry lesson–even though the school osten­si­bly spe­cial­izes in offer­ing stu­dents “a con­tent-rich clas­si­cal edu­ca­tion in the lib­er­al arts and sci­ences.” Par­ents appar­ent­ly found the Renais­sance sculp­ture, um, “porno­graph­ic.”

Fast for­ward two months, and the for­mer prin­ci­pal Hope Car­rasquil­la has now trav­eled to Flo­rence and vis­it­ed Michelangelo’s “David” in per­son. This came at the invi­ta­tion of the may­or of Flo­rence, Dario Nardel­la, and the direc­tor of the Gal­le­ria dell’Accademia, Cecilie Holl­berg. Above you can see Holl­berg on the left, and Car­rasquil­la on the right.

On Insta­gram, Car­rasquil­la com­ment­ed:

I’m very impressed. The thing that strikes me the most, and that I did­n’t know, is that this whole gallery was built for him [Michelangelo’s “David”]. I think it’s beau­ti­ful, it looks like a church. And to me, that just rep­re­sents real­ly the puri­ty of this fig­ure and you see his human­i­ty.  There is noth­ing wrong with the human body. Michelan­ge­lo did noth­ing wrong. He could only sculpt it like this. It could­n’t be oth­er­wise. He’s won­der­ful and I’m real­ly hap­py to be here.

In her own state­ment, Holl­berg said:

I am delight­ed to wel­come her and show her the mag­nif­i­cence of our muse­um, as well as per­son­al­ly intro­duce her to David, a sculp­ture that I reit­er­ate has noth­ing to do with pornog­ra­phy. It is a mas­ter­piece rep­re­sent­ing a reli­gious sym­bol of puri­ty and inno­cence, the tri­umph of good over evil. His nudi­ty is an out­ward man­i­fes­ta­tion of Renais­sance thought, which con­sid­ered man the cen­tre of the uni­verse. Peo­ple from all over the world, includ­ing many Amer­i­cans, make the pil­grim­age to admire him every year. Cur­rent­ly, more than 50% of vis­i­tors are from the Unit­ed States. I am cer­tain that Ms. Car­rasquil­la will receive the wel­come and sol­i­dar­i­ty she deserves here in Flo­rence.

Flori­da may be can­cel­ing clas­si­cal art and thought. Flo­rence is decid­ed­ly not.

Relat­ed Con­tent 

How Michelangelo’s David Still Draws Admi­ra­tion and Con­tro­ver­sy Today

Michelangelo’s Illus­trat­ed Gro­cery List

Take a 3D Vir­tu­al Tour of the Sis­tine Chapel, St. Peter’s Basil­i­ca and Oth­er Art-Adorned Vat­i­can Spaces

Leonar­do da Vinci’s Hand­writ­ten Resume (1482)

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Why Renaissance Masters Added Egg Yolk to Their Paints: A New Study Sheds Light

Today we think of the Renais­sance as one of those peri­ods when every­thing changed, and if the best-known arti­facts of the time are any­thing to go by, noth­ing changed quite so much as art. This is reflect­ed in obvi­ous aes­thet­ic dif­fer­ences between the works of the Renais­sance and those cre­at­ed before, as well as in less obvi­ous tech­ni­cal ones. Egg yolk-based tem­pera paints, for exam­ple, had been in use since the time of the ancient Egyp­tians, but in the fif­teenth cen­tu­ry they were replaced by oil paints. When chem­i­cal analy­sis of the work of cer­tain Renais­sance mas­ters revealed traces of egg, they were assumed to be the result of chance con­t­a­m­i­na­tion.

Now, thanks to a recent study led by chem­i­cal engi­neer Ophélie Ran­quet of the Karl­sruhe Insti­tute of Tech­nol­o­gy, we have rea­son to believe that painters like Bot­ti­cel­li and Leonar­do kept eggs in the mix delib­er­ate­ly. Oil replaced tem­pera because “it cre­ates more vivid col­ors and smoother col­or tran­si­tions,” writes Smithsonian.com’s Tere­sa Nowakows­ki.

“It also dries slow­ly, so it can be used for longer after the ini­tial prepa­ra­tion.” But “the col­ors dark­en more eas­i­ly over time, and the paint is more sus­cep­ti­ble to dam­age from light expo­sure. It also has a ten­den­cy to wrin­kle as it dries,” vis­i­ble in Leonar­do’s Madon­na of the Car­na­tion below.


Putting in a bit of egg yolk may have been a way of using oil’s advan­tages while min­i­miz­ing its dis­ad­van­tages. Ran­quet and her col­lab­o­ra­tors test­ed this idea by doing it them­selves, re-cre­at­ing two pig­ments used dur­ing the Renais­sance, both with egg and with­out. “In the may­olike blend” pro­duced by the for­mer method, writes Sci­ence­News’ Jude Cole­man, “the yolk cre­at­ed stur­dy links between pig­ment par­ti­cles, result­ing in stiffer paint. Such con­sis­ten­cy would have been ide­al for tech­niques like impas­to, a raised, thick style that adds tex­ture to art. Egg addi­tions also could have reduced wrin­kling by cre­at­ing a firmer paint con­sis­ten­cy,” though the paint itself would take longer to dry.

In prac­tice, Renais­sance painters seem to have exper­i­ment­ed with dif­fer­ent pro­por­tions of oil and egg, and so dis­cov­ered that each had its own strengths for ren­der­ing dif­fer­ent ele­ments of an image. Hyper­al­ler­gic’s Tay­lor Michael writes that in The Lamen­ta­tion Over the Dead Christ, seen up top, “Bot­ti­cel­li paint­ed Christ, Mary Mag­da­lene, and the Vir­gin, among oth­ers, with tem­pera, and the back­ground stone and fore­ground­ing grass with oil.” Thanks to the oxi­diza­tion-slow­ing effects of phos­pho­lipids and antiox­i­dants in the yolk — as sci­en­tif­ic research has since proven — they’ve all come through the past five cen­turies look­ing hard­ly worse for wear.

Relat­ed con­tent:

How Car­avag­gio Paint­ed: A Re-Cre­ation of the Great Master’s Process

Dis­cov­er Harvard’s Col­lec­tion of 2,500 Pig­ments: Pre­serv­ing the World’s Rare, Won­der­ful Col­ors

The Largest & Most Detailed Pho­to­graph of Rembrandt’s The Night Watch Is Now Online: Zoom In & See Every Brush Stroke

A 900-Page Pre-Pan­tone Guide to Col­or from 1692: A Com­plete High-Res­o­lu­tion Dig­i­tal Scan

A 3,000-Year-Old Painter’s Palette from Ancient Egypt, with Traces of the Orig­i­nal Col­ors Still In It

The Old­est Known Globe to Depict the New World Was Engraved on an Ostrich Egg, Maybe by Leonar­do da Vin­ci (1504)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How the Art of Patrick Nagel, Still Seen in Nail Salons Today, Crystallized the 1980s Aesthetic

To find a visu­al def­i­n­i­tion of the nine­teen-eight­ies, you need look no fur­ther than the win­dows of the near­est run-down hair or nail salon. There, “fad­ed by time and years of sun dam­age,” remain on makeshift dis­play the most wide­ly rec­og­nized works of — or imi­ta­tions of the works of — artist and illus­tra­tor Patrick Nagel, who spe­cial­ized in images of women with “sleek black hair, paper-white skin, bold red lip­stick and a look of mys­tery, pow­er, and cool detach­ment.” So says Evan Puschak, bet­ter known as the Nerd­writer, in his new video essay above on the sud­den rise and last­ing cul­tur­al lega­cy of the “Nagel women.”

As Puschak tells the sto­ry, the fig­ure respon­si­ble for launch­ing Nagel and his women into the zeit­geist was pub­lish­er Karl Born­stein, who “had been in Europe admir­ing the work of Toulouse-Lautrec and Pierre Bon­nard, Parisian poster artists of the late nine­teenth cen­tu­ry, and came back to Amer­i­ca look­ing for an artist of his own time when Nagel walked into his life.”

Around this same time, “the man­ag­er of the Eng­lish new-wave band Duran Duran saw Nagel’s work in Play­boy, and com­mis­sioned a pic­ture for the cov­er of their 1982 album Rio” — which, apart from all those salon win­dows, gave most of us our first look at a Nagel woman.

These and oth­er pop-cul­tur­al asso­ci­a­tions “helped to cement the Nagel woman as an emblem of the decade.” For years after Nagel’s death in 1984, his “chic, fash­ion­able, inde­pen­dent” women con­tin­ued to serve as “aspi­ra­tional images,” but even­tu­al­ly, amid mar­ket sat­u­ra­tion and chang­ing sen­si­bil­i­ties, their bold look of glam­or and pro­fes­sion­al­ism began to seem tacky. Nev­er­the­less, redis­cov­ery always fol­lows desue­tude, and suf­fi­cient dis­tance from the actu­al eight­ies has allowed us to appre­ci­ate Nagel’s  tech­nique. “Day by day, lit­tle by lit­tle, Nagel removed details until he arrived at the fewest num­ber of lines that would still cap­ture the spir­it of his mod­els,” using rig­or­ous min­i­mal­ism to evoke — and for­ev­er crys­tal­lize — a time of brazen excess.

Relat­ed con­tent:

Who Designed the 1980s Aes­thet­ic?: Meet the Mem­phis Group, the Design­ers Who Cre­at­ed the 80s Icon­ic Look

How Art Nou­veau Inspired the Psy­che­del­ic Designs of the 1960s

Down­load 200+ Belle Époque Art Posters: An Archive of Mas­ter­pieces from the “Gold­en Age of the Poster” (1880–1918)

Down­load 2,000 Mag­nif­i­cent Turn-of-the-Cen­tu­ry Art Posters, Cour­tesy of the New York Pub­lic Library

The First Muse­um Ded­i­cat­ed Exclu­sive­ly to Poster Art Opens Its Doors in the U.S.: Enter the Poster House

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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