Gertrud Arndt was a German photographer and designer associated with the Bauhaus movement. She is remembered for her pioneering series of self-portraits from around 1930.
Learn how the Bauhaus Movement influenced design history with its emphasis on theory and practice as taught by the masters. The timeless principles of Bauhaus design still hold up and to this day the iconic Bauhaus style inspires graphic designers all over the world.
Yes, these lovely ladies are from the Weaving Workshop! The Barbican's recent exhibit, Bauhaus: Art as Life, has renewed public interest in the Bauhaus school. The exhibit showcased the designs, fine art, and crafts produced by the students and Masters from its conception in 1919 to its closure in 1933. While the school readily accepted…
BAUHAUS (1920s) Poster for Bauhaus theatre workshop tour, 1929. HISTORICAL FACTS When the Staatliches Bauhaus (Art and Design school) opened its doors in Weimar (Germany) on April 1st 1919, no one could have predicted what a huge influence it would have on contemporary design. Under the directorship of Walter Gropius, the school’s progressive teaching practices…
An exhibition at Paris's decorative arts museum hones in on the myriad ways that students and teachers at the Bauhaus sought to integrate art, architecture, and design into total artworks.
BAUHAUS WEAVERS is a series of portraits and posters, dedicated to remarkable female artists at the heart of Bauhaus school (1919 - 1933) and their pursiut of creative freedom to learn and to take an equal part in building a new brighter world.
Tecnolumen focus on the manufacture of Bauhaus designs, including the famous Wagenfled Lamp from 1924. High quality lighting from the UK's premier retailer of Tecnolumen products.
Learn how the Bauhaus Movement influenced design history with its emphasis on theory and practice as taught by the masters. The timeless principles of Bauhaus design still hold up and to this day the iconic Bauhaus style inspires graphic designers all over the world.
Bis 1928 entwickelte Schlemmer den Kurs „Der Mensch“, der sich in einen formalen, einen biologischen und einen philosophischen Teil untergliederte.
The Bauhaus Revolution Bauhaus: The Basic Course: The preparatory course was developed by Johannes Itten and continued by László Moholy-Nagy and Josef Albers. Those interested in the Bauhaus had the opportunity to test themselves in the preparatory course to see whether they had any aptitude as a designer. During this “self-finding course”, imagination and creativity were tested, as well as sensitivity, diligence, stamina and team work. Johannes Itten set himself three goals for his preparatory course teaching: 1. To free the creative forces and thus the artistic talent of the students. Individual experience and insights were to lead to real work. The students were to free themselves step by step from all dead conventions and pluck up the courage to do their own work. 2. To make the students’ choice of profession easier. Materials and texture practise were a valuable aid in this. Every student found out after a short period of time which material attracted him, whether glass, wood, stone, clay, metal or spinning products, stimulating him to creative activity. 3. Students were to be taught the basic laws of artistic design for their later artistic professions. The laws of form and colour opened the world of the objective to the students. In the course of their work, objective and subjective form and colour problems could intermingle in various ways. Wassily Kandinsky dedicated a great deal of attention to colour theory in his complex, theoretical instruction programme, which was also delivered in a decidedly “teacher-centred” manner. In Dessau, Albers taught twelve lessons on four mornings during the first semester, and Moholy-Nagy taught four lessons per week in the second semester. For Paul Klee, colour theory was part of his “Artistic Form Theory”, which he taught beginning in the 1921/1922 winter semester. Klee, who gave crucial support to the Bauhaus through his contributions to basic artistic theory, developed his teaching programme “Artistic Form Theory” into “Design Theory” in 1924 to react to the increasing scientific-technical-economic orientation of the later Bauhaus in Dessau, calling it “Artistic Design Theory.” In contrast to Kandinsky and Hirschfeld-Mack, Klee started from blue, yellow and red as the three basic colours and determined, by means of pendulum movements, their reach into the periphery of the colour circle in order to finally arrive at his “canon of colour totality” according to his process of analysis and synthesis. Klee’s colour theory was based on movement theory principles. Joost Schmidt was different from his teacher colleagues at the Bauhaus in his tendency towards the authentic, the systematic, logical and factual as well as scientific laboratory work. Yet he always kept the “psychological whole” of man in his mind, man who he tried to localise in the range between “earthly” and “cosmic”, and as part of the “all-space” with the help of adequate, sometimes esoteric, life philosophies.
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Marianne Brandt (18931983), a leader of the Bauhaus style, is best known as a Bauhaus designer and metal-worker. Much less well-known are the photomontages that constitute the ...
Of the many women who enrolled at the Bauhaus school in Weimar in 1919, few went on to become famous, unlike the men. Different works and exhibitions now pay tribute to their innovative artistic contributions.
A quick snap one evening after a tough day's work at a design workshop at the Bauhaus, Dessau. It's hard to believe that Walter Gropius started designing it in 1919.
We credit the Bauhaus school, founded by German architect Walter Gropius in 1919, for the aesthetic principles that have guided so much modern design and architecture in the 20th and 21st centuries. Open Culture, openculture.com
During the fourteen years of its existence, the Bauhaus was threatened, contested and persecuted again and again. It was closed for political reasons no fewer than three times. Threats to its existence due to external hostility led to strong internal solidarity. Thus the Bauhaus members achieved the breakthrough to a new era not only through the quality of their collaboration, but also through the life they shared at the Bauhaus.
