Bruno Munari, ‘Augusto’, 1990, Drawing, Collage or other Work on Paper, Marker on cardboard, ArtRite
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Bruno Munari

Augusto, 1990

Marker on cardboard
13 1/5 × 18 1/2 in
33.5 × 47 cm
.
Bidding closed
A
ArtRite
Medium
Signature
Signed and dated lower centre
Bruno Munari
Italian, 1907–1998
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In his prolific, 70-year career, Bruno Munari became known for various contributions to art, industrial design, film, architecture, art theory, and technology—including an early model of the portable slide-projector. He liked to (falsely) claim that his name meant “to make something out of nothing” in Japanese. Munari’s principles and beliefs were built upon his early involvement in the Futurist movement, which he joined at the age of 19 using the pseudonym “Bum.” During the 1930s, Munari began to move towards Constructivism, particularly with his kinetic sculptures, Useless Machines (begun 1933), meant to transform or complicate their surrounding environments. Throughout his career, Munari was captivated by both a sense of whimsy and the manipulation of artificial light. After World War II, Munari also developed radical innovation in graphics, typography, and book publishing, through the latter creating pieces he would call Useless Books.

Bruno Munari, ‘Augusto’, 1990, Drawing, Collage or other Work on Paper, Marker on cardboard, ArtRite
Save
Save
View
View in room
Share
Share
A
ArtRite
Medium
Signature
Signed and dated lower centre
Bruno Munari
Italian, 1907–1998
Follow

In his prolific, 70-year career, Bruno Munari became known for various contributions to art, industrial design, film, architecture, art theory, and technology—including an early model of the portable slide-projector. He liked to (falsely) claim that his name meant “to make something out of nothing” in Japanese. Munari’s principles and beliefs were built upon his early involvement in the Futurist movement, which he joined at the age of 19 using the pseudonym “Bum.” During the 1930s, Munari began to move towards Constructivism, particularly with his kinetic sculptures, Useless Machines (begun 1933), meant to transform or complicate their surrounding environments. Throughout his career, Munari was captivated by both a sense of whimsy and the manipulation of artificial light. After World War II, Munari also developed radical innovation in graphics, typography, and book publishing, through the latter creating pieces he would call Useless Books.

Bruno Munari

Augusto, 1990

Marker on cardboard
13 1/5 × 18 1/2 in
33.5 × 47 cm
.
Bidding closed
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