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HOUSE OF BUILDING

GROPIUS FIRST PROCLAMATION OF THE BAUHAUS


The 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 craftsmanin 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 barrierTogether 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

1919 -1933

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,

FIRST YEAR: PRELIMINARY COURSE


THREE TASKS OF FIRST
YEAR COURSE:

Johanne 1 Free unique


Ittenstudent.
s

creativity of

2 Make choice of career


easier.
3 Convey design
fundamentals.

COURSE METHODOLOGY:
Experiments with actual
materials.
2 Analyses of old masters.
3 Color and form theory.
1

Johanne
FIRST YEAR: PRELIMINARY COURSE
Itten
s

Horizontal/Vertikal
, 1915

Vogelthema,
1918

Josef

PRELIMINARY COURSE 1922-33

Albers

Discover specific
qualities of materials.
Produce no waste.
Month 1: GLASS.
Month 2: PAPER
Month 3: TWO
MATERIAL
COMBINATION.
Month 4: STUDENT
CHOICE.

Grid Mounted,
glass assemblage
1922

Josef

Albers

Bundled,
1925

1888-1976

Homage to a Square,
1971

PRELIMINARY COURSE 1923-1928

Lszl

Moholy

1: Combine elements to
corresponded to
preconceived idea. Response
manifested on tactile
charts.
2: Distinguish composition
(balance between parts)
from construction.
3: 3D studies to sharpen
sense of volume: simple
elements
Grid Mounted,and materials used
glass
to assemblage
construct objects in
1922
both visual
and real

Lszl

Moholy-Nagy 1895-1946
Eifersucht
(Jealousy), 1927

AXL II, 1924

Leuk 5, 1946
Dual Form with Chromium
Rods, 1946

MASTERS

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.

w/ Marcel Breuer
African Chair, 1921

textile
design
&

weaving

woman-run
weaving
technique
coupled well
with Bauhaus
aesthetic

contrasting
material,
thick /
thin, glossy
/ matte

Gunta
Stlzl

Kitty Fischer-van
der Mijll-Dekker
woollen blanket
design, gouache
1932

FINE ART MASTERS: Lyonel


Feininger
Kathedrale
Woodcut, 1919

18711956
Street in
Arceuil 1915

Gables I,
Lueneberg, 1925

graphic
design
&

typography
HERBERT
BAYER

Kiosk for exhibition st


1924
Joost Schmidt
Weimar Bauhaus Poster
1923

ALL CAPS or
all lower
case

Universal Type
1926

sans serif
grid
structures
geometric
forms

&

Bauhaus Journal
Cover
1928

FINE ART MASTERS: Vassily


Kandinski
1866-1944

Impression
III 1911

Untitled
1922

Swinging
1925

metalwork

&
photography

Marianne
Brandt

Self
portrait
with
jewelry
for
metal
party

Marianne

cont.

Weimar Metal Workshop, 1923

BildergalerieTeapot, 1930

BildergalerieRuppel-Trio desk set, 1930

Ashtrays

Lidded Bowl, 1930

Touch desk
lamp 1930

FINE ART MASTERS: Paul Klee


Highway and
Byways 1929

18791940
Senecio 1922

Zitronin
1932

AFTERMATH
The
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

the
BAUHAUS 1919-1925: WEIMAR 1926-1932: DESSAU 1932-1933: BERLIN
school
PRINCIPLES

unity of fine and applied


arts
preliminary immersion in
design & craftsmanship
subsequent focus in
master-led workshops
embrace potential of
industrial mass
production

Founded by
Walter Gropius.
Became
International
Style in U.S.

Wilhelm Wagenfeld
Bauhaus Lamp

MART STAM
first
cantalievered
chair,
prototype from
steel tubes

GUNTA STLZL
weaving

Lszl MaholyNagy
preliminary
course painter,
photographer,
graphic design
PAUL KLEE
painter

HERBERT BAYER
graphic design,
typography

Marianne Brandt
photographer,
metalwork

Vassily Kandinsky,
painter abstract
expressionist

JOHANNES ITTEN
preliminary
course painter

JOSEF ALBERS
preliminary
course painter