马克斯·比尔-人物-轻识

简介

马克斯·比尔（Max Bill，1908年12月22日-1994年12月9日），瑞士建筑师、画家、字体设计师、工业设计师和图形设计师。比尔出生于瑞士温特苏的一个钟表世家，后学习银器设计与制作，在很大程度上受到达达派的影响。1927-1929年，他在包豪斯（Bauhaus）学习了两年设计，期间非常拥护学校倡导的功能第一的设计主张。他是现代主义形成时期的大力支持者及现代主义成熟时期的完美表现者。同时，他又将潜在的北欧人情味与德国的功能性有机地融合在一起，设计出很多令人难忘的作品。1954年，他设计的“Ulmer Hocker”凳强烈地体现了其追求功能及主张运用纯粹的几何造型的理念。而比尔于1957年设计的壁钟充分地说明了他强调功能在设计中的重要性，该作品设计的精华就在于其简洁的外表、纯粹的线条及优秀的可识别性，被誉为新功能主义的典范。

影视作品

星座

四个方向的扩展

This painting shares its lozenge shape and geometric division of color with many paintings by Piet Mondrian, whose work Bill collected and in whom he was greatly interested. Bill trained at the Bauhaus in the 1920s under Josef Albers and was an architect and graphic designer as well as an artist. In his work he aimed to transcend personal artistic expression to achieve universal communication, and to this end he used mathematics as a neutralizing compositional device. The subject of an exhibition at the Museu de Arte de São Paulo in 1950 and winner of the grand prize for sculpture at the São Paulo Bienal in 1951, he helped to introduce a generation of Latin American artists to European geometric abstraction. He designed the catalogue for a 1955 Mondrian exhibition at the Zurich Kunsthaus, and lent to it three Mondrian paintings from his collection.