Max Bill proclaimed a new idea of “concrete art”, also known as “konkrete Kunst” In the 1930s. According to him, this art is based on internal plastic means and formal regularities. The principles of “Concrete Art” are the economical and rational use of materials.
Painting is concrete not abstract, there is nothing more concrete than the line and the surface.Theo van Doesburg
Mathematics in the work of art
The magical possibilities of mathematics are very often used by Max in graphic and pictorial works. He developed the idea of continuous development of the form, worked with the illusions of colors, volumes and voids.
The essence of the process is work and creation for the benefit and need, clearly articulates all the subsequent works of Max Bill. Design is a way to concretize and improve the perception of final consumption.Julli Stolz
Geometric construction by Max Bill, you can meet in the new trends of design and fashion. This, as an example, the whole «school design material». Colors, Braun design and color combinations with the shape are clearly copied from the works of Max Bill. Bill’s ideas were widely spread in Western Europe and AmericaJulli Stolz
The method of Bill, based on geometric constructions, was determined by the end of the 1930s. Rectangular, spiral lines — strokes on canvases embody visual dynamics similar to sequences of mathematical transformations.
The ability to use minimal color patterns, accurate mathematical progression of form — a distinctive feature of the design of the works of Max Bill.Julli Stolz
The search for the form — «Good form»
Items of mass consumption measures the cultural level of any society.
Max Bill has repeatedly stressed that significant place in theory and pedagogy concludes the problem of form.
Max Bill developed the concept of the Good Form exhibition back in 1949. The theoretical rationale for its aesthetics of industrial forms, Bill gave in the book “Form. He took into account the influence of artistic factors on the formation of the form and the behavior of the balance of development of the form in the middle of the 20th century. ”
Form, as a way to express the properties of an object, color, as a way to express the actions of an object.Julli Stolz
The beauty of a thing complements its useful properties and is the most important common cultural factor. It is possible to achieve a qualitative form with the help of specialists who are proficient in the methods and shaping. Max Bill always sharply opposed the lethargy and neutrality of form and was against stylization. He believed that Stylization «kills the truth». Often at the beginning of the “design of the path” the designer tries to “decorate” his work. He should just bring it to an ideal state, do everything according to the «canons». Then the beauty of the product and the design will manifest.
His work can often be seen at exhibitions in the Museum of Modern Art in Geneva. This designer has been a member of many design and art associations. These include Institut d`Esthétique Industrielle (Institute of Industrial Esthetics) in Paris, Deutscher Werkbund (German Association of Industrialists, founded in 1907 in Munich.), Der Bund Schweizer Architekten BSA (Association of Architects in Basel, Switzerland ), “American Institute of Architects” (American Institute of Architects, founded in 1857). From 1967 to 1974, Bill taught design at the Hochschule für Bildende Künste (Graduate School of Fine Arts) in Hamburg, in 1972 he became a member of the Akademie der Künste in Berlin (Berlin Academy of Art).
The most famous work of Max Bill is “Ulmer Hocker”. This is a modular design with the ability to interpret its shape in the form of a bar or stool.
Works of Max Bill in color
Max is a master in creating illusions of the perception of light and dark, the lines, stripes, squares, and triangles reached each other. This designer could turn ordinary images into exciting compositions, changing their essence beyond recognition, but leaving their geometry unchanged. In many ways, this designer relied on color. It is the use of color that allows Max Bill’s works to revive, to acquire volume and balance.
And it is the color that makes the graphics of this designer so unusual and full of inexplicable magnetism. He balanced all the different colors in one composition, which were completely incompatible with each other. Sometimes the designer gave preference to soft, muted shades, and in other cases, on the contrary, he tried to show all the riot of bright neon colors.
Bill has works in which he demonstrated different shades of the same color, revealing the diversity of design.