the bauhaus
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HOUSE OF BUILDING
1919 -1933
GROPIUS’ FIRST PROCLAMATION OF THE BAUHAUSThe complete building is the final aim of the visual arts…. Art is not a "profession." There is no essential difference between the artist and the craftsman…in moments beyond the control of his will, the grace of heaven may cause his work to blossom into art. But proficiency in his craft is essential to every artist. Therein lies a source of creative imagination. Let us create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier…Together let us conceive and create the new building of the future, which will embrace architecture and sculpture and painting in one unity and which will rise one day toward heaven from the hand of a million workers like the crystal symbol of a new faith.
PRINCIPLES
• Mass production over individual craftsmanship.
• Synthesis of fine & applied arts.
• New & modern sense of beauty through rational design.
• A forward-thinking over an academically qualified faculty, including purely creative artists as spiritual counterpoints to the practical technicians.
• Thorough experience with materials.
• Student offered no refuge in the past, should be equipped for modern world in various aspects: artistic, technical, social, economic, spiritual. He must function in society not as a decorator but as a vital participant.
IttenTHREE TASKS OF FIRST YEAR COURSE:
1 Free unique creativity of student.
2 Make choice of career easier.
3 Convey design fundamentals.
COURSE METHODOLOGY:1 Experiments with actual
materials.2 Analyses of old masters. 3 Color and form theory.
FIRST YEAR: PRELIMINARY COURSE
Johannes
Itten FIRST YEAR: PRELIMINARY COURSEJohannes
Horizontal/Vertikal, 1915
Vogelthema,
1918
Albers
Month 1: GLASS.Month 2: PAPER Month 3: TWO MATERIAL COMBINATION.
Month 4: STUDENT CHOICE.
PRELIMINARY COURSE 1922-33Josef
“Discover” specific qualities of materials. Produce no waste.
Grid Mounted,glass assemblage
1922
Albers 1888-1976 Josef
Homage to a Square,1971
Bundled,1925
Moholy-Nagy PRELIMINARY COURSE 1923-1928László
1: Combine elements to corresponded to preconceived idea. Response manifested on “tactile charts.”
Grid Mounted,glass assemblage
1922
3: 3D studies to sharpen sense of volume: simple elements and materials used to construct objects in both visual and real balance.
2: Distinguish composition (balance between parts) from construction.
Moholy-Nagy 1895-1946 László
Dual Form with Chromium Rods, 1946
Eifersucht (Jealousy), 1927
AXL II, 1924
Leuk 5, 1946
From left: Josef Albers, Hinnerk Scheper, Georg Muche, Laszlo Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stozl and Oskar Schlemmer.
MASTERS
&textile design
• woman-run
• weaving technique
coupled well with Bauhaus
aesthetic
• contrasting material, thick /
thin, glossy / matte
Gunta Stölzl
weaving
w/ Marcel BreuerAfrican Chair, 1921
Kitty Fischer-van der Mijll-Dekkerwoollen blanket design, gouache1932
Kathedrale Woodcut, 1919
Street in Arceuil 1915
Gables I, Lueneberg, 1925
1871-1956
FINE ART MASTERS: Lyonel Feininger
&
Joost SchmidtWeimar Bauhaus Poster
1923
Universal Type1926
Bauhaus Journal Cover1928
graphic design
typography
Kiosk for exhibition stand1924
• ALL CAPS or all lower case
• sans serif
• grid structures & geometric forms
• bold & primary colors
HERBERT BAYER
FINE ART MASTERS: Vassily Kandinski
Impression III 1911
Untitled 1922
1866-1944
Swinging
1925
&metalworkphotography
Self portrait with jewelry for metal party1929
Marianne Brandt
cont.Marianne
Bildergalerie Teapot, 1930
Bildergalerie Ruppel-Trio desk set, 1930Touch desk lamp 1930
Weimar Metal Workshop, 1923
Lidded Bowl, 1930
Ashtrays…
Highway and Byways 1929
Senecio 1922
Zitronin 1932
1879-1940
FINE ART MASTERS: Paul Klee
AFTERMATHThe Bauhaus dissolved itself under Nazi pressure in 1933.
Gropius, Mies van der Rohe, and other Bauhaus masters migrated to the United States.
1932 MOMA had an exhibition of contemporary architecture.
The accompanying Hitchcock and Johnson catalogue was entitled The International Style: Architecture Since 1922.
“International Style” now used to refer to American incarnation of Bauhaus architecture.
the BAUHAUS school
1919-1925: WEIMAR 1926-1932: DESSAU 1932-1933: BERLIN
PRINCIPLES• unity of fine and applied arts• preliminary immersion in design & craftsmanship• subsequent focus in master-led workshops• embrace potential of industrial mass production
JOHANNES ITTENpreliminary course painter
JOSEF ALBERSpreliminary course painter
László Maholy-Nagypreliminary course painter, photographer, graphic design
Vassily Kandinsky, painter abstract expressionist
Marianne Brandtphotographer, metalwork
GUNTA STÖLZLweaving
PAUL KLEEpainter
HERBERT BAYERgraphic design, typography
Wilhelm WagenfeldBauhaus Lamp
MART STAMfirst cantalievered chair, prototype from steel tubes
• Founded by Walter Gropius.• Became “International Style” in U.S.
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