Bauhaus: 1919-1933 (Temporis Collection) by Michael Siebenbrodt, Lutz Schöbe

By Michael Siebenbrodt, Lutz Schöbe

The Bauhaus circulation (meaning the "house of building") built in 3 German towns - it all started in Weimar among 1919 and 1925, then persisted in Dessau, from 1925 to 1932, and at last resulted in 1932-1933 in Berlin. 3 leaders presided over the expansion of the stream: Walter Gropius, from 1919 to 1928, Hannes Meyer, from 1928 to 1930, and Ludwig Mies van der Rohe, from 1930 to 1933. based by means of Gropius within the relatively conservative urban of Weimar, the hot capital of Germany, which had simply been defeated through the opposite eu international locations within the First global warfare, the move turned a flamboyant reaction to this humiliation.

Combining new types in structure, layout, and portray, the Bauhaus aspired to be an expression of a generational utopia, striving to unfastened artists dealing with a society that remained conservative regardless of the progressive efforts of the post-war interval. utilizing the main sleek fabrics, the Bauhaus used to be born out of the precepts of William Morris and the humanities and Crafts move, introducing new varieties, encouraged via the main traditional of items, into daily life. The shuttering of the guts in Berlin via the Nazis in 1933 didn't positioned an finish to the stream, given that a lot of its individuals selected the trail of exile and demonstrated themselves within the usa. even supposing all of them went in several instructions artistically, their paintings shared an identical foundation. the main influential one of the Bauhaus artists have been Anni Albers, Josef Albers, Marianne Brandt, Marcel Breuer, Lyonel Feininger, Ludwig Hilberseimer, Paul Klee, Wassily Kandisky, and Lothar Schreyer. via a sequence of lovely reproductions, this paintings offers an summary of the Bauhaus period, together with the background, impact, and significant figures of this innovative move, which became daily life into paintings.

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Analytical examination of the elements of form, from point to line to plane and eventually to space, was, in contrast to Kandinsky, oriented towards the process character of work. This also applied to the treatment of basic shapes. Mirroring, form twisting, proportioning etc. tested the students’ abilities to organise planes. By adding colour the process gained complexity, and unlimited possibilities of design variation opened up. , which were discussed in his lessons in order to explore the laws of function in design elements in comparison with physical laws or the laws of music.

Out of resting concentration Itten developed exercises for moving concentration. Thus, he had students draw charcoal circles on pieces of packing paper with both hands, in the same and in opposite directions, circling to the left or to the right. The same exercise was repeated with parallel lines. To increase the level of difficulty, one hand was to produce uniform lines, the other rhythmic ones. These exercises seem to be comparable to those of a percussionist with his instrument in order to achieve the perfect rhythm, but also in order to be able to portray his own sensitivities and emotions.

39 Johannes Itten, Veneration of Master Franke, print from Analyses of the Old Masters, in Utopia. Dokumente der Wirklichkeit (Documents of Reality) I/II, edited by Bruno Adler, Weimar 1921 The schooling of the sense of touch, the examination of the characteristics of materials and surfaces became the basic experience of design work. The training of hand and eye was in the focus of the obligatory exercises with grey-scales, where as many different shades between black and white as possible were to be produced with charcoal or chalk.

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