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!
"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!
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