The Bauhaus was first founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus during the first years of its existence did not have an architecture department. Nonetheless, it was founded with the idea of creating a "total" work of art in which all arts, including architecture, would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design and architectural education.The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.
he "Degenerate Art" exhibit held in Munich in 1937 was the end of modern art in Nazi Germany and the beginning of Nazi Art. The author examines some of the art shown at that exhibit.
Barr, the director of the Museum of Modern Art from its inception in 1928 until 1943, displayed "almost prophetic insight" on his visit to Stuttgart at the very beginning of Nazi rule in 1933. In Stuttgart, Barr found that The "Battle Band for German Culture", an early official Nazi group with affiliates in every important German city, dominated almost every phase of German cultural life right from the beginning of the Nazi regime. He also found that modern art, offensive to the Third Reich, was attacked in Stuttgart, a city which had embraced the modern International Style in art and architecture - a reasonable attachment since the International Style was German in origin.
Wassily Kandinsky
A member of the German Expressionist group Der Blaue Reiter, and later a teacher at the Bauhaus, Kandinsky is best known for his pioneering breakthrough into expressive abstraction in 1913. His work prefigures that of the American Abstract Expressionists.
Josef Albers
Josef Albers was a German-born American painter and teacher. Celebrated as a geometric abstractionist and influential instructor at Black Mountain College, Albers directly influenced such artists as Robert Rauschenberg, Cy Twombly and Ray Johnson.
Laszlo Moholy-Nagy
Laszlo Moholy-Nagy was a Hungarian painter, photographer and teacher at the Bauhaus School. Moholy-Nagy was influential in promoting the Bauhaus's multi- and mixed-media approaches to art, advocating for the integration of technological and industrial design elements.
Ludwig Mies van der Rohe
Ludwig Mies van der Rohe was one of the founding fathers of architectural Modernism. Utilizing modern materials and mass production strategies, his buildings rejected surface ornament in favor of a sleek and imposing geometry.
Johannes Itten (11 November 1888 – 25 March 1967) was a Swiss expressionist painter, designer, teacher, writer and theorist associated with the Bauhaus (Staatliche Bauhaus) school. Together with German-American painter Lyonel Feininger and German sculptor Gerhard Marcks, under the direction of German architect Walter Gropius, Itten was part of the core of the Weimar Bauhaus.
Oskar Schlemmer (4 September 1888 – 13 April 1943) was a German painter, sculptor, designer and choreographer associated with the Bauhaus school. In 1923 he was hired as Master of Form at the Bauhaus theatre workshop, after working some time at the workshop of sculpture. His most famous work is "Triadisches Ballett," in which the actors are transfigured from the normal to geometrical shapes. Also in Slat Dance and Treppenwitz, the performers' costumes make them into living sculpture, as if part of the scenery.chlemmer became known internationally with the première of his 'Triadisches Ballett' in Stuttgart in 1922. His work for the Bauhaus and his preoccupation with the theatre are an important factor in his work, which deals mainly with the problematic of the figure in space. People, typically stylised faceless female figures, continued to be the predominant subject in his painting. While at Bauhaus, he developed the multidisciplinary course "Der Mensch (The human being)." In the human form he saw a measure that could provide a foothold in the disunity of his time. After using Cubism as a springboard for his structural studies, Schlemmer's work became intrigued with the possibilities of figures and their relationship to the space around them, for example 'Egocentric Space Lines' (1924). Schlemmer's characteristic forms can be seen in his sculptures as well as his paintings. Yet he also turned his attention to stage design, first getting involved with this in 1929, executing settings for the opera 'Nightingale' and the ballet 'Renard' by Igor Stravinsky.
Bauhaus
House mad be bauhaus worksop.was made as a dream about a better world.Also made affordable.Designed a kitchen using ceramics and glasses as well.1923 hyperflation stopped the houses being sold in mass and jobs started to loss.At this time Nazis marched through the streets protesting.Soon after the college closed 1925 due to this (national social party which where Nazis).1924 political arts had the depression and prohibited money to try compensate for the devalue.was closed before it could be closed(reopened destroying desseou) which was better a more natural home less then a year to build.designed things for workshops metal replaced wood,chairs were inspired by cars and such.experiments were made with double montage and over printing.bold simple designs rethought ht along with text and everything was possible.Dixeland
They were seen as Punks.
Second director.Second director communist Hannes Meyer's took the place of groupeus 1929.1930 Ludwig was appointed as the next Bauhaus director.actetictual study's were topped and was closed as nazis thought it to be a pit of Jewish ideas.
Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school’s weaving workshop. As the Bauhaus’s only female master she created enormous change within the weaving department as it transitioned from individual pictorial works to modern industrial designs. She joined the Bauhaus as a student in 1920, became a junior master in 1927 and a full master the next year. She was dismissed for political reasons in 1931, two years before the Bauhaus closed under pressure from the Nazis.She soon became a mentor to other students and reopened the Bauhaus dye studios in 1921. After a brief departure, Stölzl became the school's weaving director in 1925 when it relocated from Weimar to Dessau and expanded the department to increase its weaving and dyeing facilities. She applied ideas from modern art to weaving, experimented with synthetic materials, and improved the department's technical instruction to include courses in mathematics. The Bauhaus weaving workshop became one of its most successful facilities under her direction.
House mad be bauhaus worksop.was made as a dream about a better world.Also made affordable.Designed a kitchen using ceramics and glasses as well.1923 hyperflation stopped the houses being sold in mass and jobs started to loss.At this time Nazis marched through the streets protesting.Soon after the college closed 1925 due to this (national social party which where Nazis).1924 political arts had the depression and prohibited money to try compensate for the devalue.was closed before it could be closed(reopened destroying desseou) which was better a more natural home less then a year to build.designed things for workshops metal replaced wood,chairs were inspired by cars and such.experiments were made with double montage and over printing.bold simple designs rethought ht along with text and everything was possible.Dixeland
They were seen as Punks.
Second director.Second director communist Hannes Meyer's took the place of groupeus 1929.1930 Ludwig was appointed as the next Bauhaus director.actetictual study's were topped and was closed as nazis thought it to be a pit of Jewish ideas.
Georg Muche
nvited Muche in 1919 to join the Bauhaus faculty in Weimar.At Bauhaus, he headed the weaving workshop from 1919 to 1925 and directed the preliminary course from 1921 to 1922.Muche was in charge of the 1923 Bauhaus Exhibition, their first major exhibition,[5] for which he designed an experimental house known as "Haus am Horn". It was constructed in 1923 as the first practical implementation of the new Bauhaus building style. Such principles were key influences on 20th-century architecture.Of the original Bauhaus buildings in Weimar, Haus am Horn is the only one still standing.[8] Muche was the leading proponent of the Bauhaus architectural group. In 1926 he, along with Richard Paulick, designed the innovative Stahlhaus (Steel House) at Dessau-Törten.[5][7] From 1925 to 1927 he headed the Bauhaus' weaving workshop in Dessau.Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school’s weaving workshop. As the Bauhaus’s only female master she created enormous change within the weaving department as it transitioned from individual pictorial works to modern industrial designs. She joined the Bauhaus as a student in 1920, became a junior master in 1927 and a full master the next year. She was dismissed for political reasons in 1931, two years before the Bauhaus closed under pressure from the Nazis.She soon became a mentor to other students and reopened the Bauhaus dye studios in 1921. After a brief departure, Stölzl became the school's weaving director in 1925 when it relocated from Weimar to Dessau and expanded the department to increase its weaving and dyeing facilities. She applied ideas from modern art to weaving, experimented with synthetic materials, and improved the department's technical instruction to include courses in mathematics. The Bauhaus weaving workshop became one of its most successful facilities under her direction.
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