viaYLISS i&HOEK GOED E RETOURS N Section compiled by W. F. GOUWE of the INSTITUTE OF DECORATIVE AND INDUSTRIAL ART The Hague. In the days of the revival of applied arts in Holland, when the art of modern publicity began its experiments here, there was a discussion between two Dutch artists, Roland Hoist and Alb. Hahn, both prominent designers of different tendency. The question was should a poster (an advertise ment) compel more or less obtrusively the attention, the action of the public, or should it be as beautiful and distinguished a communication as possible Hahn wrote an essay Outcry or communication?" Roland Hoist claimed that it should be an aesthetic, refined form. Such a controversy may be called characteristic of a certain spiritual atmosphere in Dutch art, especially in those days. The Dutch artist, in the domain of publicity as in other fields, generally feels an ethical responsibility as regards aesthetic problems and technical refinement and subtlety. Therefore, perhaps he has not in the first place a power of keen, vehement suggestion and sets a great value upon the approbation of the quiet intelligent contemplator. Though in recent years modern artistic publicity in the Netherlands in general has come, as everywhere else, to a practical outlook Modern Publicity 1937-38, Foreword)a great part of it is still devoted to social and spiritual evolution, to cultural life. (Van Dobbenburgh, Sjollema.) Specimens of this kind do not particularly belong to the material for this bookbut even a very concise outline of Dutch modern publicity would be incomplete and inexact without this observation. Two elements have strength ened the really Dutch character in itbesides the more or less international type faces in vogue on functional styleposters, folders, etc., Netherlands typography has got its modern Dutch type faces Holland Mediaeval, Erasmus, Grotius, etc., designer, S. H. de Roos, typefoundry, Lettergieterij Amster dam Lutetia, designer J. van Krimpen, foundry Joh. Enschedé Zonen, Haarlem)they have found their way to the Linotype, Intertype and Monotypeand the young photographers, giving a lively and exact impression of the Dutch landscape, our buildings, our industry, our really Dutch physiognomy, create a counter-poise (we may say an antidote) to the Volendam-trousers and the wooden shoe which have made, too long already, Holland on posters and in brochures a folklore- museum for conventional trips onlyinstead of an industrious country with a strong feeling for evo lution, a match for every problem of modern life. HOL LAND EN DÉ VOORN STATIONS IN ENGE! Poster. DESIGNER Kees van der Laan. I

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