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' Piet Zwart was born on May 28th, 1885 in Zaandijk, North Holland (died in September 27th, 1977 at the age of 92).

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‘Personally, I admire the rebels, the forward thinkers, the people despised by society for being “different.” Zwart was, according to several sources, “not an easy man.” He was known for his “indiscretion” and many considered him “self-centered.” When have people like him ever been understood by the mediocre?

‘Others recall that he was driven to excel. He worked late into the night, usually until three in the morning, set high standards for himself that others thought were unattainable by any person. He was concerned about promoting himself and paranoid about others having the wrong impression of him. As he was named The Most Influential Designer of the Twentieth Century by the Association of Dutch Designers (although some articles on Zwart list it as the Professional Organization of Dutch Designers) in 2000, he obviously succeeded in making his mark, despite the rumors and innuendos from those around him.

‘Many, it seems in my research probably felt more out of jealousy from Zwart’s ideals of perfection and his insistence on being involved in article

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[Blue Band Margarine]

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Piet ZwartDutch

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A modernist whose projects integrated photography, architecture, and graphic design, Piet Zwart was a pioneer of the Dutch avant-garde. He assiduously collected commercial art from around the world and—together with peers in the Ring of New Advertising Designers—adapted innovative aesthetics to corporate ends. In this, the most experimental of his still lifes for a margarine brand, he takes inspiration from recent industrial work, including the 1927 NKF cable catalogue. With trick lighting and plate glass, he seems to suspend this margarine midair, above a branded crate. Scrapping stereotypical associations with the product—from the farmyard to the family table—he instead summons its site of manufacture. Though it barely registers as food, this product presents the eye with a confounding feast.

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NKF: N.V. Nederlandsche Kabelfabriek Delft

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Piet Zwart’s corporate catalogue for the cable producer NKF models a new visual language—one of propulsive, synthetic looking, facilitated by industry itself. In its pages, photographs are arrayed like parts for assembly, then splintered and reassembled in exacting montage. Sweeping factory vistas appear alongside close-range views of sockets and wire, to visualize an economy of energy conveyance whose component parts are rarely seen. Graphic interventions instruct the novice viewer, and modulations of scale draw them through the circuitous course of factory production. To the delight of NKF executives and avant-gardists alike, Zwart’s formal invention served functional ends, selling the seductive allure of that strangely irresistible industrial product: the insulated high-voltage electric cable.

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