Resumen en inglŽs

Humor and avant-garde. Graphic representation of humor, is a project with the aim of bringing to the no-so-extensive theoretical body of graphic design the analysis of the images that, in their role of communication with the audience, cause humor or, at least, they show the visual wit which they were intended with. The ironic, satirical and humorous graphics became crucial in the historical avant-garde, justified by a humoristic talent of the isms of the art. WeÕve analyzed their texts and manifestos, but especially their images.
This work investigates, in the first place, the concept of humor. Secondly it analyzes humor in art and in the graphical products of the avant-garde. Finally, it defines the avant-garde like a clearly humorous movement above others.
This study has allowed us to admire the most important works of the Pathosformel of the avant-garde humor and its authors, among others, Mayakovsky ulyb‡etsia, Mayakovsky smei—tsia and Mayakovsky izdev‡etsia, by Vladimir Mayakovsky, Greguer’as by Ram—n G—mez de la Serna, or his article ÒHumorÓ published in Isms, Anthology of Black Humor by AndrŽ Breton, The BlindmanÕs Ball by Beatrice Wood, the manifesto Parole in libertˆ by Marinetti, the famous Bibendum by OÕGalop, Tango with cows by Vasily Kamensky, Dlia G—losa or 4 DŽistvia by Mayakovsky and El Lissitsky respectively, the perversion between images and words by Duchamp, Heartfield and Max ErnstÕs collages, MagritteÕs iconic subversion and others. All of those examples are at the origin of postmodern graphic design.