[7]. [2] Paul Hofmann, Viennese: Splendor, Twilight and Exile (New York, Anchor Books Press, 1988), p. 42, [3]  Philip B. Meggs, Alston W. Purvis, Meggs’ History of Graphic Design (John Wiley & Sons, 2016), p. 239, [4] Walter Crane, Of the Decorative Illustration of Books Old and New, pg. (Image #20, 21) Considered the unsung hero of Secession-style graphic art partly because of the Vienna Secession’s prohibition of female members, Luttich produced stunning Secession-style illustrations for the magazine showing a synthesis of pattern design and typography that was unmatched by her male contemporaries. It was only in 1922 when American designer William Addison Dwiggins first used the term in order to distinguish between utilitarian printing and printing for purpose. Reacting to Heine’s cartoons, critics jumped at the opportunity to attack the magazine’s ‘Jewishness’, in spite-of the fact that he was the only Jewish illustrator employed at the magazine. [1] Ann Taylor Allen, A Playful Judgement: The Social function of Satire & Society in Wilhelme Germany, Kadderatsche and Simplicissimus 1890-1914, 3. When Olbrich’s Secession House did begin to hold exhibits, this same modular approach to picture arrangement was adopted by Olbrich and Josef Hoffmann through the unique use of moving partitions and walls within the building. The festival was a large scale parody of the Secession, complete with a ‘Secessionist village’ designed by Burgtheatre stage designer Gilbert Lehner (1844-1923) and housing examples of ‘dysfunctional’ architecture such as an upside-down house, a tulip-house. Paul’s illustrations are dominated by their undulating contour lines, flat fields of colour, and pattern; all distinct traits of Jugendstil. This season sees some work by FUTURA, musician/producer Lee "Scra, A Countervailing Theory: Toyin Ojih Odutola @ The Curve, Barbican, London, “I’m attracted to the understated in art,” Toyin Ojih Odutola told us in her 2017 cover story, “moments that can be quickly passed over, but are complex and layered. (Image #12) More so, it removed the distinction between text and picture frame by the very fact that the reader no longer had to tilt the magazine on its side to view a landscape format image.

Unlike other interior design magazines that relied heavily on artists’ renderings and architectural drawings, Deutsche Kunst und Dekoration took full advantage of photographic reproductions. Historian Ann Taylor Allen writes that “In every society (humour) sensitively reflects the tension between conservatism and radicalism, conformity and rebellion.”[13] In other words, humour and satire was also a way for the public to engage with mdernism without appearing to be anti-establishment. The circulation numbers of some of these magazines reflect their popularity: Simplicissimus founded in 1896 had a circulation of 86,000 by 1908 while Jugend had roughly 70,000.[11]. Life isn't always young and sweet." Aynsley, Jeremy Design Change: Magazine for Domestic Interior, 1890-1930, Oxford University Press, 2005, Aynsley, Jeremy Graphic Design in Germany: 1890–1945, Los Angeles: University of California Press, 2000.

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