By Michael Siebenbrodt
The Bauhaus circulation is without doubt one of the most vital and consequential cultural emergence of the 20 th century. Walter Gropius based this institute of layout in 1919 in Weimar and it was once powerful in Weimar, Dessau and Berlin. many of the professors, Walter Gropius (1919-1928), Hannes Meyer (1928-1930), and Ludwig Mies van der Rohe (1930-1933), have been additionally popular architects in their time. The works of the Bauhaus artists, Lyonel Feininger, Wassily Kandinsky, Paul Klee, Gerhard Marcks, Oskar Schlemmer and László Moholy-Nagy in addition to these of the scholars and younger school contributors, Josef Albers, Herbert Bayer, Marcel Breuer, Gunta Stölzl and Joost Schmidt, have been unanimously prominent and aroused the curiosity of museums internationally. Their teachings in layout are nonetheless saw in todays structure and layout colleges and likewise usually artwork periods. the goods of the Bauhaus, corresponding to Marcel Breuers recognized metal pipe furnishings, grew to become low-cost vintage layout criteria. The Bauhaus constructions have made architectural historical past and at the moment are UNESCO international historical past websites. The authors make clear the evolution and connection of the Bauhaus with different events, and render it simply understandable to the reader.
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Extra info for Bauhaus : 1919-1933, Weimar-Dessau-Berlin
In the course of their work, objective and subjective form and colour problems could intermingle in various ways. … It was important to me when teaching artistic means of expression that the different temperaments and talents felt individually addressed. Only in that way could a creative atmosphere beneficial to original work emerge. The work was to be “real”…17 Itten had tested his pedagogical and artistic experiences, which he had gained in his teacher training in Berne, from art studies in Geneva and at the Stuttgart Academy with Adolf Hölzel, and in a private school in Vienna since 1916.
The experimental approach of Mies van der Rohe lay in the quality of new architectural designs themselves. He deemed all other areas dependent on architecture and, based on this conclusion, he developed the specifics and a variety of educational propositions. His aim was not social efficiency, but the highest aesthetic and constructive quality. The art of building, a term that had been frowned upon earlier, became used again in everyday language and meant that not only the purpose but also the values and humanistic components were of importance.
Josef Albers now explained to us how well the material had been understood, how well it had been used In 1927, Bauhaus Journeyman Erich Consemüller was commissioned to make photographic documentation of the Dessau Bauhaus with approximately 300 images. The fifty-five published images of the preparatory course show more than 120 works which allow for a systematic overview: drawings, material collages, touch boards, cut and folding exercises in paper, tin metal and cellophane, construction and solidity studies as well as plastic material exercises with wires, straws and thin wooden sticks.
Bauhaus : 1919-1933, Weimar-Dessau-Berlin by Michael Siebenbrodt