The Bauhaus

Staatliches Bauhaus, from a German word Bauhaus 'House of Construction', was founded in Weimar, on 16th of March, 1919 by Walter Gropius. It was an innovative institution of art, design and architecture, focal of avant-garde ideas, combined together in a unified way of teaching and building a bridge between art and industry. Gropius intended to create a school that would focus on both, art and crafts referring to the ideas of John Ruskin and William Morris but in a more urban and technological way. He believed that every artist is a craftsman and therefore should work on multiple fields and produce the art works conceptually and technically to fit into machine culture of the XX century. 
"Let us create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsman and artist!"
During the first period of the existence of the Bauhaus in Weimar, its director and founder, together with the Council of Masters, created the foundations of the school courses. Among 10 masters (the lecturers were not called teachers, but masters to further establish the idea of the craftsmanship) there were three first faculty members and main ideologists who supported Gropius in this attempt. Gerhard Marcks was a 'Formmeister' of the sculpture workshop and pottery shop. Llyonel Feininger was a master of painting and Johannes Itten took charge of the first six months of the preliminary courses until 1923 when he was replaced by László Moholy-Nagy. Itten was a Swiss painter, color theorist, follower of mystic  Mazdaznan and a strict vegetarian. His lifestyle reflected in the approach to the arts, heavily contrasting with the Classical academic thinking, was very inspirational to the students. At the same when he was gaining reputation and followers, he got into a conflict with Gropius and was forced to leave the school. Yet before 1923 due to his connections, he invited Paul Klee, Oskar Schlemmer and Georg Muche to join the Bauhaus. László Moholy-Nagy who replaced Itten was a Hungarian constructivist, a follower of El Lissitzky. He introduced many innovation to the core program, encouraging students to use latest technology, such as photomontage (he stated that photography is a new painting). He also brought an idea of 'New Typography'. A student and, after graduation in 1925, a faculty member Herbert Bayer was heavily influenced by Nagy's approach to typography. He was commissioned by Gropius to create a typeface. The result was so called Universal, a simple geometric sans-serif font. Later his methods were applied by Jan Tschichold who even though never attended the Bauhaus was inspired by its artists. Combining all the talents emerging from the school, the Bauhaus presented its first public exhibition in 1923. 
Forced to leave Weimar in 1925,  the school was moved to the city of Dessau and the main focus was shifted to the theory and industry. Gropius decided to build a new impressive building that would hold all departments and facilities necessary for such a diverse art school. The structure reflected a strong interest in functionality and modern architecture. At that time Gropius decided to hire a faculty member to conduct newly-founded architecture program and Hannes Meyer accepted the position. In 1928 Gropius resigned due to the political situation and Meyer took over the director post. He opened up the school for a free political discussion and the students became interested and involved in the social issues in the country. As a vocal Communist he was accused by the Nazi Party and forced to leave two years later, in 1930. The Bauhaus started to be associated with the Communist ideology and social liberals which was a threat to the rising power. Ludwig Mies van der Rohe became a new director in 1930 and he expelled the students who were engaged in the Communist activities. Yet it did not satisfy the Nazis who pressured the school and in 1932 it had to be moved to Berlin, its final destination. Even Gropius referring to his patriotism during the WWI could not save the school. The depressing new location and further repressions brought the end of the Bauhaus in April 1933. The masters and the students spread around the world. Many moved to the New Continent looking for a better future in the United States, especially in Chicago. László Moholy-Nagy attempted to recreate the school but the chapter of its history ended in Germany in 1933. On the other hand the influences it has created over the years is enormous comparing with only 14 years of its existence.
I think that the Bauhaus is one of the last attempts of seeking the importance and beauty in the field of art and design. Looking at the modern world of the XXI century, it is sentimental to see such a united community of young people fighting for their passion and creating art from the bottom of their hearts no matter the consequences. In my opinion it is impossible to compare it to any of the art schools or artistic movements today, especially in the United States. The historical times and location of the Bauhaus determined the path it took. It is remarkable how strong and firm in believes the students were. They did not shake nor hide. They knew that it was a time of great changes and unrest. At the same time they all came together to devastated after the WWI Germany and had their own mark in the history. To compare it to the modern American schools is a insult to these people who were ready to sacrifice their life for studying and contributing to art. Although we might share similar structure of the core classes and projects I believe there is an ideological conflict. From my discussions with the students I hear that their greatest aspiration is to get a well paid job. Many never consider the politics or social issues in their art. Many do not even intend to be a part of the community and share the experience. I do not judge them and state myself above others yet at the same time do not agree that we can truly identify with the students from 1920s/30s. Of course the times and the situation in the country does not prompt us to take such drastic steps as protests or rebellions against the government but there are other ways to approach the problems of the modern world and get involved on a smaller or greater scale. For me the students of the Bauhaus remain role models and a source of inspiration for meaningful art and life. 
PS: I'm sorry for the delay in posting the last entry blog. I had it written down on Thursday night but studying for the exam on Monday I realized I did not hit the publish button. No experience in blogging, I'm sorry!

 

From 'savage primitives' to El Lissitzky

Today in class in order to continue with the modern art in Russia, we discussed the works by El Lissitzky. In fact Lazar Markovich Lissitzky, he was a Russian visionery artist exploring different fields of art and design, such as architecture, painting, typography, poster design, photomontage. One of his landmarks is a new composition style incorporating type into the page. In the beginning he was influnced by Malevich and a group of suprematists. Teaching at the school together with Malevich, Lissitzky developed his own style, called Proun (Project for the Affirmation of the New). He focused on the dimentional elements and how to represent multiple perspectives on the flat surface. Later due to his education in architecture, he was creating fully dimentional pieces and commercial designs. In 1920s Lissitzky moved to Berlin and became an ambassador of Russian avant-garde art in the Western world. He experimented with typography and more commercial, political and public art. He was a source of inspiration for many of his contemporaries, starting from the artists associated with the Dada movement to Jan Tschichold and the De Stijl movement in the Netherlands. The movie 'The Battleship Potemkin' from 1925 featured one of the greatest interest of Lissitzky, the new exciting technique of photomontage. The film by Sergei Eisenstein is regarded as one of the most propaganda works ever produced and shows a dramatic battle between the Royalists and the common people of Russia. 
Another representative of Russian avant-garde is Alexander Rodchenko. He was appointed Director of the Museum Bureau by the government in 1920. He was not only a painter but in his later years got engaged into photography and graphic design. His great contribution in the avant-garde movement and constructivism was the studies on color that eventually he reduced to a monochromic pallet. He stated that by doing so he 'reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. This is the end of painting'. 
Unlike in Russia where the cenzorship and Lenin's party did not support the arts, in the Netherlands a new movement flourished. De Stijl was introduced around 1917 and for the next 15 years gave a direction for the young artists. The group took an Utopian approach to the aesthetics. They believed that people need harmony and balance after the dreadul years of wars and chaos. The main characteristics of the new style was a pure abstraction consisted of geometric shapes, lines, arranged at right angles, primary colors, black and whites, the lack of ornamentation, texture and illustration. De Stijl was represented by Theo van Doesburg, Gerrit Rietveld and Piet Mondrian. It was Mondrian who came up with the philosophy of the movement that he later named neoplasticism.
The final movie on Russian avant-garde was an interesting closure to that period of time in the art and design history. The transition from the celebrated and prosperous artists into the victims of the Communist system is an imporant factor to understand. Contary to the group led by Theo van Doesburg in the Netherlands, the artsist in Russia struggled to carry on their professions and had to make sacrfices and adjustements to the philosophy of the Bolschevik party. I think it was very interesting how the artsist, such as Tatlin turned into the social/public art and saw a bigger purpose in creating design for packages, advertising, commercial posters. Following the constructivism they felt importance in their acts and service to the people of Russia. This awareness kept them eager and inspired to work despite the political limitations. 
A note on the figure of El Lissitzky. I think it is fascinating to see how Russian avant-garde art developed from Cubo-Futurism called by Filippo Marinetti (Italian Futurist) 'savagely primitive' to Constructivism. The influence of Lissitzky as a representative of Constructivism shows how art crosses cultural and political boundaries. He did not only inspire Russian artists. Moving to Germany he opened a new way to the Western world, blocked by the Russian regime. In Germany he became a recognised figure and joined the Dada movement. He was commissioned with a special issue of the magazine 'Merz' . Through his relation with Walter Groplus his work was also a source of inspiration for the Bauhaus. Finally, De Stijl with Piet Mondrian and Theo van Doesburg as the founders was based on the ideas brought from 'primitive' Russia by its greatest ambassador or arts, Lissitzky. At the same time he was extensively writing on design, attending conferences, lectures and exhibitions and stayed open to the evolving technology (contrary to more traditional artsist such as Malevich). He said: 'The sun as the expression of old world energy is torn down from the heavens by modern man, who by virtue of his technological superiority creates his own energy source.' As for me it is very inspiring to see such a man on the field of graphic design. He embraced different fields of art and left a significant mark on all of them. I think it is right to call him a Renaissance artist of XX century for his passion and explorations in arts and education. 
As for Lissitzky's designs I feel that even now they are innovative and breaking the boundaries of what one could call 'safe' or 'correct' design without any outstanding elements versus the sparks of genius. On the example of 'Beat the Whites with the Red Wedge' from 1919, I find it amazingly interesting to create such a fascinating composition of pure geometric forms and type (also very geometric). There is a movement to the design that creates an order from that, at first sight, chaotic composition. It is further emphasized by the simplicity of the color pallete. Red capturing our attention and then the gradient of black and white. There is also a clear hierarchy: first come the elements and afterwards the text. I feel these is so much to apply to my design work from only this one piece by Lissitzky. Finally it is not purely a design, but a propaganda poster with clear symbolism of red as Bolscheviks and revolution and white, the anti-revolutionary forces (reinforced by the text in Russian 'Bey Belych' meaning Beat the Whites 'Klinom krasnim' with the Red Wedge)

 

 
Lissitzky | van Doesburg | Mondrian

Русский авангард

Over 100 years ago the people of the era welcomed the new century with excitement, anticipation and hopes for the better future. They could not predict that the technology they were praising would lead to a global disaster. That free thinking they were encouraging would cause more divisions in the society and injustice. That new leaders raising from the crowd would soon become modern kings and tzars they tried to get rid of. People strongly believed in a necessity for a new approach to life in each and every aspect of it. Also in art they started to look for modern ways of expression. Cubism was one of the first forms that rejected the academic thinking and initiated a beginning of experimental styles that have been constantly evolving to our times. In graphic design artists tried to meet the expectations of the people craving for progress and modernity. 
Ludwig Hohlwein was a German designer, born in XIX century (1874) but introducing a fresh new thinking and a need for a change, typical for XX century. Before he started his career in graphic arts, he had been an architect and in his later work he drew inspiration from modern architecture of a city. Nowadays he is said to be 'the most prolific and brilliant German posterist of the 20th century'. Working mainly during and  before WWII, he became a leading commercial artist in Germany, producing a massive amount of works, only by 1925 over 3000 different advertisements. His style was recognized by a strong focus on color, shadow and defined forms. Also one could that Hohlwein was referring to emerging at the time cubism. Analytical represented by Braque and Picasso's synthetic cubism showed new perspectives of depicting form and color by sophisticated reduction. Hohlwein's posters for Red Cross, Olympic Games in 1936 or typical Nazi propaganda posters had a strong reference to cubism. 
An influential movement that became an inspiration to the world was Russian avant-garde. The movement that flourished during and after Russian Revolution in 1917 turned upside down the modern art in Russia that for centuries was trapped under a tight fist of a tzar. There were few phases of Russian avant-garde: cubo-futurism, suprematism and constructivism and alter futurism. Each style has its great representatives whose works started a real revolution in the arts and also the country. 
Kazimir Malevich, Russian artist, born in Ukraine and of polish parents was a leading feature in the movement, and the originator of suprematism. He was strongly interested in the geometric forms and forever wrote down a chapter of the art history with his paintings on Black / White / Red Squares. The emotions the art should evolve did not come from the image itself, but the color and form, reduced to their basics. This conceptual thinking was the essence of the avant-garde. 
Another artist important for constructivism was Vladimir Tatlin and The Monument of the Third International became the landmark in his artistic career. The idea was to make the Eiffel Tower (the pride of the Western world) look caricatural in comparison to the greatest Russian monument. Although it was never constructed it was a symbol of revolution of the seize of power by Bolsheviks.
Alexander Rodchenko was the third of the great trio of avant-garde artists. He was appointed Director of the Museum Bureau by the government in 1920. He was not only a painter but in his later years got engaged into photography and graphic design. His great contribution in the avant-garde movement was the studies on color that eventually he reduced to a monochromic pallet. He stated that by doing so he 'reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. This is the end of painting'. 
Other artists working under the wide umbrella of Russian modern arts were Marc Chagall, Wassily Kandinsky, El Lissitzky, Stenberg brothers.
The movie that we watched in the class did not only conclude the works and lives of the trio, Malevich, Tatlin and Rodchenko, but it also brought a light to the situation in the world in the beginning of XX century. It is hard to imagine how different art and graphic design were for American audience and Russian people. The movie talked about the oppression and censorship the artists faced and to what tragic consequences it led. I was really moved by it and I feel it is critical to understand how important art is and how people sacrificed themselves for its sake. Perhaps it is an abstract thought for many Western societies. Nevertheless Russian avant-garde is an example of the reality where in XX century artists were persecuted and constantly watched. I am really interested in an idea how art can influence society not through its beauty and alienation from the bad world, but rather how it can function along the politics, social issues, religious and ethic persecution. For me it creates a context for a meaningful art where an artist expresses his deepest emotions looking for a medium that would truly project his feelings. After the revolution when Russia rejected the past with the tzars and centuries of oppression and backwardness, people really needed to find a new path for arts. To express post revolution moods was to express a different reality than the once under a tzar. 

Malevich | Tatlin |Rodchenko