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This article is excerpted from E. McKnight Kauffer: The Artisan in Advertisement by Caitlin Condell and Emily M. Orr, co-published by Rizzoli Electa and Cooper Hewitt. The accompanying exhibition Underground Modernist: E. McKnight Kauffer will accessible at the Cooper Hewitt, Smithsonian Architectonics Building in Spring 2021.
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The artisan in advertisement is a new affectionate of being. His responsibilities are to my apperception actual considerable. It is his business consistently to actual values, to authorize new ones, to activate advertisement and advice to accomplish it article aces of the civilisation that needs it.
—E. McKnight Kauffer, Advertisement Art: The Artisan and the Public, 1938
For about 20 years amid the two apple wars, E. McKnight Kauffer, an American, was the best acclaimed clear artisan in England. He was best accepted for his clear posters, but his book covers and illustrations, clear identities, carpets, date sets, costumes, and ephemera were additionally amid the best arresting of his era. Kauffer’s characteristic artful angle bound gave acceleration to an outstanding acceptability that by the aboriginal 1920s, one of his admirers could appease a cat-and-mouse accessible amid designs by papering billboards with a label: “A New McKnight Kauffer Affiche Will Appear Actuality Shortly.”
A man of autonomous conviction, Kauffer believed agilely that beat art should move aloft the walls of museums and galleries to admission all elements of circadian life. His acceptance that beat advertisement should be akin by amusing and cultural assurance apparent him as a modernist. From the alpha of his career until his death, Kauffer championed the assumption that a artisan captivated a albatross not alone to his applicant but additionally to his public. A poster, he believed, was a assignment of art that served the bifold purpose of allegorical bodies and acceptable industry. It was an befalling both to allotment important advice and to acquaint bodies to a new way of seeing. Kauffer’s adeptness lay in his adeptness to amalgamate conventions of the beat and to acclimate them to the needs of a applicant and to acknowledge to the public’s admiration to be challenged. Although “E. McKnight Kauffer” was for a time a domiciliary name, it was not alike with one actualization but evocative of many. Kauffer consistently approved to metabolize what he saw in abreast beheld ability and accomplish it accordant and new to an apprehension audience.
In art and life, Kauffer was “as a bird, consistently in flight, consistently analytic for a abode to appear to rest.” Born in Great Falls, Montana, in 1890, Kauffer was alive from an aboriginal age. He spent his adolescence in Evansville, Indiana, abrogation academy afore the age of fourteen to acrylic backdrop for the town’s Grand Opera House. While still a teenager, he larboard home for good. He abutting a traveling amphitheater aggregation as a arena painter, again begin assignment in California, aboriginal on a bake-apple agronomical and after at Paul Elder & Company, an affecting bookshop in San Francisco. Over a aeon of aloof two years, Kauffer anesthetized through Chicago and Baltimore in the United States, Algiers in North Africa, Naples, Venice, Munich, and Paris on the Continent, and Durham in the northeast of England afore establishing himself in London by aboriginal 1915. As he experimented stylistically during this period, Kauffer additionally approved out a array of monikers: Edward Kauffer, Edward Leland Kauffer, Edward McKnight, Edward Kauffer McKnight, Edward McKnight Kauffer, and assuredly E. McKnight Kauffer. But to his friends, he went by Ted.
Personal relationships were the body of Kauffer’s artful life. He was handsome and charming, declared by Sir Colin Anderson, Administrator of the Orient Line, as “like a slim, chestnut hawkeye in actualization […]. Cultured, able and hypersensitive.” A avid clairvoyant and customer of culture, Kauffer formed abutting friendships with writers, critics, and artists. Arnold Bennett, Sir Kenneth Clark, T. S. Eliot, Mary Hutchinson, Aldous Huxley, Marianne Moore, S. J. Perelman, and Virginia and Leonard Woolf were aloof some of the associates of his circle. As his brilliant rose, Kauffer consistently formed to drag others, allowance artists including Man Ray and Zero (Hans Schleger) to authorize themselves in London, and cartoon William Faulkner to the absorption of Alfred and Blanche Knopf.
Kauffer grew professionally alongside his adventurous accomplice and after wife, the American bolt artisan Marion Dorn. They collaborated on rugs and autogenous architectonics projects and aggregate clients, including the Fortnum & Mason administration abundance and Orient Line cruises. Dorn accomplished abounding complete architectonics successes during her years in London, but Kauffer’s acclaim at times overshadowed her own. She already wrote to Hutchinson, with whom she was actual close, “I had a abhorrent anniversary […] with those parties at Claridges and aback I accept had a little publicity, I am alleged in brackets — wife of E. Mack. Kauffer — in today’s Observer. Because acutely no woman charge anytime be said to do annihilation on her own. I accepted it but it fabricated Ted wild.”
The end of the Great War brought a new accent on the amount of art as a abutment for industry. A new and audible role emerged, that of the beat designer, a development to which Kauffer contributed essentially in the London of the 1920s and ’30s. In its countdown issue, of October 1922, the account Bartering Art answer art’s use in business as “constant, immense and indispensable” and alleged aloft both artists and accelerating businessmen “to appearance the way and accomplish the cede of giving a acceptable example.” Kauffer championed the acceptance that the advance of annihilation from dry charwoman to an acrid was an break for clear innovation, but he additionally insisted that a artisan “must abide an artist. He charge be added absorbed in [commercial] art as an art than as a business.” And he was absolutely added artisan than agent — his artful candor and perfectionism generally came at the amount of his banking stability, somewhat ironically accustomed his charge to a area that aimed at a advantageous aggregate of the two. While advancement his characteristic point of view, however, Kauffer believed durably that complete assurance with admirers was capital to his profession, “an complete call in accepting acceptable results.”
Kauffer’s assignment for adventurousness admirers was generally illustrated in the pages of Bartering Art, Posters & Publicity, and the abounding added barter journals founded in the aeon to bless art in advertising. Cultivating his own acceptability as a beat artisan with a agog faculty of aesthetics, he generally appear and lectured, and in 1924 he edited a book on the acreage that had become his specialty, The Art of the Poster: Its Origin, Evolution and Purpose. In the book’s text, he traces the history of advertisement aback through two centuries and reflects on the capital ascribe of the artisan in beat affiche design, accession his own assignment as basic to the medium’s development.
Not anybody was convinced, however, of the amount that Kauffer’s adult actualization could bring: in 1926, the blur aggregation Gainsborough Pictures alone several of his affiche designs. Kauffer was at the acme of his celebrity at the time, and the slight fabricated headlines: “Posters Too Acceptable for the Films,” the affidavit reported. Both works had been advised to advance Alfred Hitchcock’s abstruseness The Lodger: A Story of the London Fog. “They are array of Futurist and absolutely attractive,” a Gainsborough controlling is quoted as saying, “but for one affair we did not appetite the accessible to anticipate the blur was one of these expressionist pictures like ‘Dr. Caligari.’” Despite the bounce of his posters, Kauffer remained complex in the project, ultimately designing the film’s titles. Another blur affiche Kauffer designed, Metropolis, was additionally never produced.
Meanwhile Kauffer was award an added ample bazaar for his book jackets and illustrations. Abounding publishers approved out his artful to allure new audiences, and by the mid-1920s arcane architectonics fabricated up a ample allotment of his practice. This abiding assignment connected for the blow of his career. Kauffer consistently collaborated with the Hogarth Press, founded in 1917 by the Woolfs, Nonesuch Press, founded in 1922 by his acquaintance Sir Francis Meynell, and the reinvigorated Curwen Press. Anniversary appear affordable and cautiously produced editions of fiction and poetry, by authors including Bennett and Eliot. Kauffer additionally formed consistently for beyond publishers, including Chatto & Windus, Victor Gollancz, Doubleday, Doran, Putnam, Random House, and Alfred A. Knopf.
Driven both by the acceptability of his talents and the attributes of his personality, Kauffer artificial applicant relationships with those who aggregate his ideals. A few outstanding and determinative examples deserve acceptance here. In Frank Pick, publicity administrator for the Underground Electric Railways Aggregation of London (UERL) and founding affiliate of the Architectonics and Industries Association (1915), Kauffer apparent a agreeing alone committed to adopting the artful abeyant and accessible acknowledgment of architectonics through the company’s base architectonics and posters. It was in ample allotment through these UERL posters that Kauffer was able to advance his own stature, whether he was advertisement an amphitheater destination with a pastoral mural or auspicious building appearance with a cubist composition.
Kauffer additionally able abounding collaborations with printers. The Westminster Press, founded in 1923 by Gerald Meynell, Francis Meynell’s cousin, produced abounding of his advertisement designs in the 1920s. In 1930, Kauffer took on the role of art administrator for the press aggregation Percy Lund, Humphries & Co. The company’s chairman, E. C. (Peter) Gregory, encouraged the assurance of beat artists, and for a time Kauffer aggregate a flat with both Man Ray and the columnist Francis Bruguière.
In the aboriginal years of his career, Kauffer produced some designs for the oil aggregation Shell-Mex and B.P. With the accession of Jack Beddington, the company’s forward-thinking publicity manager, in 1928, that accord flourished into one of his best cogent collaborations. In exhibitions in London in the 1930s, Beddington presented the company’s advertisements, guidebooks, lorry bills, and posters in the ambience of accomplished art. Sir Kenneth Clark, administrator of the National Gallery and a abutting acquaintance of Kauffer’s, wrote the addition to the archive for Exhibition of Pictures in Advertisement by Shell-Mex & B.P. Ltd., at Shell-Mex House, calling the aggregation “among the best assemblage of beat art” for the aftermost seven or eight years. In New York in the 1940s, advertisement controlling Bernard Waldman tenaciously championed Kauffer’s talent, allowance him to defended abounding commissions. Amid the best cogent was the American Airlines campaign, for which Kauffer produced added than thirty posters. Waldman, his wife, Marcella, and his daughter, Grace, became Kauffer’s adoptive family.
The aggregate of Kauffer’s affiche output, as able-bodied as the common about-face of posters in London’s carriage system, meant that the city’s dispatch commuters and pedestrians accomplished his images again in their circadian lives. As a abreast analyzer observed, Kauffer agilely responded to the dispatch clip of abreast life, designing posters for the “fast-moving” accessible and aiming to “express the bulletin in the simplest and best complete form.” He evoked a altered anatomy of abrupt communication, amid the fastest accepted at the time, in anecdotic the affiche as “not clashing a abrupt buzzer that gets to the point quickly.” The actualization of new and able means of communicating and traveling in the aboriginal bisected of the twentieth aeon provided Kauffer both with abounding new admirers and with capacity for posters — from air mail and telephones to ocean liners and trains.
In fact, cursory opportunities for experiencing Kauffer’s activating designs could be begin in countless aspects of abreast leisure: his set and apparel designs for ballets and the amphitheater appeared on stages about the world, his affectation designs admiring absorption in exhibition halls and boutique windows, his able greeting cards abounding mailboxes, and his arresting packaging awash laundry bactericide and textiles. For those admirers accessible to abandon from attitude at home, Kauffer’s designs avant-garde calm space; his book jackets lined the shelves of clandestine libraries, his murals and tapestries brought arrangement and blush to autogenous walls, and his and Dorn’s carpets lined the floors of some of London’s aboriginal beat accommodation buildings. The complication of Kauffer’s output, breaking bottomward artful boundaries, contributed to his cachet as a beat designer. As Francis Meynell reflected, “Kauffer was an archetype of the alone accuracy that art is indivisible: that a man with the basis of the amount in him can acrylic or architectonics rugs (as he did for Arnold Bennett) or accomplish posters or allegorize books or adorn a allowance or parti-colour a motor-car (as he did for me) or arrangement an advertisement.” Intersecting with the fields of architecture, autogenous design, literature, publishing, the assuming arts, and retail, Kauffer and Dorn’s projects brought them into a network, with some of the best arresting proponents of English addition — abstracts including artisan Arthur Bliss, architects/designers Serge Chermayeff and Wells Coates, artisan and artisan Frederick Etchells, appearance announcer Madge Garland, artisan and autogenous artisan Curtis Moffatt, author George Bernard Shaw, and choreographer Ninette de Valois.
Kauffer was in abounding respects an activist, advocating for the accent of architectonics in the account of the accessible good. In 1919, in the deathwatch of Apple War I, he was a founding affiliate of the Arts League of Account (ALS), an alignment aimed at accretion admission to art and ability through exhibitions on beat art, literature, dance, and music and a traveling amphitheater affiliation that ventured throughout Britain. He connected to architectonics for the ALS during the 1920s. Kauffer was accepted as accelerating and socially advanced but was not abnormally affianced in backroom in the 1920s and aboriginal ’30s. Despite this reputation, Kauffer alternate in several adverse and aloof commissions during this period. His ultimately abstruse illustrations for a appropriate copy of Carl Van Vechten’s 1926 atypical set in Harlem, whose appellation includes a ancestral slur, authenticate that Kauffer was at best naïve about affairs of race. His illustrations for the Earl of Birkenhead’s book The Apple in 2030 A.D. (1930) ballast a argument that is absorbed with misogyny and admiring of eugenics. His allegorical awning architectonics for the absolutist argument The Greater Britain (1932) by Oswald Mosley seems to angle in bucking to Kauffer’s declared behavior yet his alive accord cannot be overlooked. But as political about-face escalated in the 1930s, he became agilely affianced with a ambit of aces causes, lending his talents to organizations including the Peace Affiche Service, the Peace Pledge Union, the Cambridge Anti-War Council, the Association of Writers for Intellectual Liberty, the Union of Democratic Control, and the Festival of Music for the People. Kauffer’s antipathy for absolutism is potently appear in his able awning for Leonard Woolf’s Quack Quack (1935).
After the beginning of Apple War II, Kauffer and Dorn confused to New York. Already there, Kauffer connected to abutment a adult cultural acknowledgment to wartime needs, alive on commissions from the American Red Cross, the Greek War Relief Association, the National War Fund, and more. In 1947, to account his war-relief efforts, he was called an honorary adviser to the United Nations’ Administration of Accessible Information, and he advised a affiche for the anew formed organization.
“I had never acquainted absolutely at home in my own country,” Kauffer already recalled, yet throughout his time away he had remained an American citizen. The activity that agitated him beyond the United States and again to Europe in 1913 never absolutely abated. He had accustomed in England as a refugee, beat Paris with his aboriginal wife, Grace McKnight Kauffer (née Ehrlich), at the beginning of Apple War I, but would recall, “I anticipate alike then, I had the abstraction in the aback of my apperception that anytime I would go aback and acquisition my place.” He did absolutely acknowledgment briefly to the United States in 1921, acquisitive to authorize himself there, but begin bound opportunities and anon alternate to England. A 1925 apprehension in the bi-weekly appropriate that Kauffer advised to become a British citizen, but he never did. Instead, Kauffer remained an departer for 25 years. Back Apple War II fabricated his cachet as an American bottomless in England, he larboard abruptly for New York and never returned.
Although Kauffer admired alone relationships aloft all, he struggled with the bodies he admired most. In 1923, he alone Grace, and their adolescent daughter, Ann, accepting collapsed in adulation with Dorn. The accommodation to leave his babe apparitional him for the blow of his life. He and Dorn had a blessed accord for abounding years, advancement anniversary other’s work. In London and after in New York, they kept aggregation with a tight-knit amphitheater of aeon who fed anniversary added socially, creatively, and, at times, romantically. Despite their acclaim and able success, Kauffer and Dorn asperous years of banking crisis and bouts of affecting agitation that led to several periods of separation. The challenges of their acknowledgment to the United States ultimately accepted too abundant for their relationship, and although they affiliated in 1950, they were abundantly conflicting in the final years of Kauffer’s life.
In abounding respects, Kauffer remained an departer on both abandon of the Atlantic: an American artisan in Britain, a British artisan in America. Although this abridgement of acceptance took its assessment on those he admired and on those who admired him, it was his adamant attrition to clearing that was the babyhood of his talent. He was consistently gluttonous article new, and he thrived back accustomed the befalling to use his artful abilities for the advancement of all. His close acceptance that architectonics was a albatross acclaimed him, for he captivated according account for the advertiser and the public. He took to affection the advantage of advice with all bodies in the cursory moments of their lives. Kauffer was a beat artisan for beat life.
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