DOI Page / Citation link:
https://doi.org/10.11588/diglit.41588#0051
Vladimir dementis on Soviet books and posters. Although the journal was socused primarily on
education and was addressed to typographers, it was the sole platsorm sor gathering insormation on
current events in all fields os the arts. In 1933 when Slovenskagrasia changed its design similarly as did
the Czech journal iijeme (We Are Alive), with margin petit columns, its issue was stopped.
In 1931 ZdenSk Rossmann came to Bratislava srom Bauhaus. By that time a member of the Brno
Devetsil and graphic designer of the journals Pdsmo, Disk and Index be brought the functional
conception os typographic design to an almost ascetic appearance. The diagonal was replaced by the
horizontal and the main optical insormation was carried by the square or rectangle of photographic
detail. Soon asterwards it was possible to state that aster Rossmann’s arrival the SAA really dealt with
sunctional typography and within the next two years an unexpected boom in the impact os the school
on almost all printing houses could be recorded.7
Rossmann was the initiator and co-author os many projects, from exhibitions and their
architectural-artistic layout (the exhibition os contemporary posters srom the collection os Jan
Tschicholdin 1932) to sociographic researches. In 1930-1932 he edited together with Antonin Hofejs,
the journalist Daniel Okäli and the architect Friedrich Weinwurm the ’’New Bratislava" revue (sig.
42). This ’’monthly os new Slovakia” was with its social-critical, international conception and
sunctionalist sorm sully appropriate to the early thirties.
Rossman and Hofejs published monographic brochures on new buildings in Bratislava designed
by the architects Balän and Grossmann, Weinwurm and Tvaroiek. Both as a journalist and as
a member os the Sociosoto Group*. Rossmann socused on sociological problems os accommodation.
He spread the idea os collective residential housing and classisied contemporary architecture into
three categories: ’’the smooth sursace typical sor this architecture, he wrote, is made (1) either os
expensive natural and artificial materials, the windows os special glass and the srames os bronze, the
sittings chromium-plated, and surniture os costly veneer, or (2) it is a cheap mass-produced imitation
os the expensive original, or (3) the siats os poor workers total by negative the above".'
It was Rossmann who induced Jaromir Funke to take photographs os architecture and — not only
striking snaps os modern sacades an interiors. The lens os the creator os abstract photography, who
proved that white can be turned into black, high vault into light chasm and material structure into
dreamlike vision socused jin Bratislava on the "utilization os contrasts, richness and poverty, luxury
and misery where the photograph uses plain and Uncompromising language".’ Nova Bratislava
published his photodocumentary on the desperate situation os the residents os Vazec, a village on the
slopes os the High Tatras destroyed by sire. This revue presented sor the sirst time also Funke’s
shocking documentary cycle the "Poor Accommodation" on the miserable existence os people living
around Bratislava castle. The milieu os Bratislava — let me mention the cycle "Time Lasts"
— brought Funke into collaboration with the Sociosoto Group. During his sive year’s work at the
SAA Funke elaborated *a teaching, method and later developed it at the Prague State School os
Printmaking (sig. 43). Its principles were utilized in the book the "Photography Can See the Sursace"
srom 1936. Funke had an impact both ort the Students os the school and Sociosoto Group as well as on
photographers os the YMCA and members os other photographic clubs in Bratislava.
Social photography became rooted in Slovakia already in the twenties but time has shown that the
social document is most impressive when it is at the same time a good photograph. Theresore the
protagonist os social photography, Irena Blühovä had already decided to study in Bauhaus besore
Funke appeared.10 Her works os the Dessau period (sig. 41) are among the few preserved records os
Peterhans teaching methods. Although Blühova remained saithful to social photography, the newly
acquired exactness os vision and artsulness os composition gave to her works power of expression.
49
education and was addressed to typographers, it was the sole platsorm sor gathering insormation on
current events in all fields os the arts. In 1933 when Slovenskagrasia changed its design similarly as did
the Czech journal iijeme (We Are Alive), with margin petit columns, its issue was stopped.
In 1931 ZdenSk Rossmann came to Bratislava srom Bauhaus. By that time a member of the Brno
Devetsil and graphic designer of the journals Pdsmo, Disk and Index be brought the functional
conception os typographic design to an almost ascetic appearance. The diagonal was replaced by the
horizontal and the main optical insormation was carried by the square or rectangle of photographic
detail. Soon asterwards it was possible to state that aster Rossmann’s arrival the SAA really dealt with
sunctional typography and within the next two years an unexpected boom in the impact os the school
on almost all printing houses could be recorded.7
Rossmann was the initiator and co-author os many projects, from exhibitions and their
architectural-artistic layout (the exhibition os contemporary posters srom the collection os Jan
Tschicholdin 1932) to sociographic researches. In 1930-1932 he edited together with Antonin Hofejs,
the journalist Daniel Okäli and the architect Friedrich Weinwurm the ’’New Bratislava" revue (sig.
42). This ’’monthly os new Slovakia” was with its social-critical, international conception and
sunctionalist sorm sully appropriate to the early thirties.
Rossman and Hofejs published monographic brochures on new buildings in Bratislava designed
by the architects Balän and Grossmann, Weinwurm and Tvaroiek. Both as a journalist and as
a member os the Sociosoto Group*. Rossmann socused on sociological problems os accommodation.
He spread the idea os collective residential housing and classisied contemporary architecture into
three categories: ’’the smooth sursace typical sor this architecture, he wrote, is made (1) either os
expensive natural and artificial materials, the windows os special glass and the srames os bronze, the
sittings chromium-plated, and surniture os costly veneer, or (2) it is a cheap mass-produced imitation
os the expensive original, or (3) the siats os poor workers total by negative the above".'
It was Rossmann who induced Jaromir Funke to take photographs os architecture and — not only
striking snaps os modern sacades an interiors. The lens os the creator os abstract photography, who
proved that white can be turned into black, high vault into light chasm and material structure into
dreamlike vision socused jin Bratislava on the "utilization os contrasts, richness and poverty, luxury
and misery where the photograph uses plain and Uncompromising language".’ Nova Bratislava
published his photodocumentary on the desperate situation os the residents os Vazec, a village on the
slopes os the High Tatras destroyed by sire. This revue presented sor the sirst time also Funke’s
shocking documentary cycle the "Poor Accommodation" on the miserable existence os people living
around Bratislava castle. The milieu os Bratislava — let me mention the cycle "Time Lasts"
— brought Funke into collaboration with the Sociosoto Group. During his sive year’s work at the
SAA Funke elaborated *a teaching, method and later developed it at the Prague State School os
Printmaking (sig. 43). Its principles were utilized in the book the "Photography Can See the Sursace"
srom 1936. Funke had an impact both ort the Students os the school and Sociosoto Group as well as on
photographers os the YMCA and members os other photographic clubs in Bratislava.
Social photography became rooted in Slovakia already in the twenties but time has shown that the
social document is most impressive when it is at the same time a good photograph. Theresore the
protagonist os social photography, Irena Blühovä had already decided to study in Bauhaus besore
Funke appeared.10 Her works os the Dessau period (sig. 41) are among the few preserved records os
Peterhans teaching methods. Although Blühova remained saithful to social photography, the newly
acquired exactness os vision and artsulness os composition gave to her works power of expression.
49