Secondly, the study attempts to assess Munari’s reputation against a body of exemplary work, based on firsthand documentation. The discussion positions the designer in his time and place, concentrating as much on the artefacts as on the broader cultural framework. Concentrating on Munari’s stylistic development, the study seeks to explore the interaction between the Futurist visual vocabulary and conceptions coming from architecture, photography, abstract painting, and functionalist typography that trickled in from central and northern Europe. Munari (1907–1998) worked simultaneously as painter and as advertising designer. Taking shape in Milan, an original ‘design culture’ eclectically brought together two quite different strains of Modernity: a local tradition represented by the Futurist avant-garde, and a European tradition associated with Constructivism. This study examines Bruno Munari’s work as a graphic designer from the late 1920s to mid-1940s, with the aim of understanding the emergence and characteristics of the modernist trend in Italian graphic design.
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