![]() Bauhaus Typography Collection, 1919–1937. Programm des Staatlichen Bauhauses in Weimar (Program of the State Bauhaus in Weimar), front and back. Despite continual turmoil throughout the Bauhaus’s itinerant existence, its radical pedagogy cemented the school’s legacy as a site for artistic experimentation well into the 21st century.įig. The school’s demise came at the hands of the Nazis in 1933. For this reason, the school was forced to relocate from Weimar to Dessau in 1925, and then from Dessau to Berlin in 1932. ![]() Gropius’s radical pedagogical vision subjected the school to considerable political pressure throughout its short life, particularly from the increasingly conservative forces that took hold in Weimar Germany. A preindustrial building form, the cathedral promised the possibility of realizing the Gesamtkunstwerk, or the total work of art, in which designers, artists, and artisans worked together toward a single, spiritual goal. Feininger illustrated Gropius’s future-oriented vision somewhat counterintuitively with a woodcut image of a gothic cathedral replete with flying buttresses, pointed arches, and rays of light emanating from its steeples. Gropius asked one of the earliest figures to be hired at the Bauhaus, the painter Lyonel Feininger, to graphically evoke the spiritual possibilities of this new art pedagogy. Hochschule für bildende Kunst, Weimar (Academy of Fine Arts, Weimar). The director hoped that various forms of artistic practice-painting, sculpture, architecture, and design chief among them-could work in harmony at the new school to produce the socially oriented and spiritually gratifying “building of the future.” 2įig. In a rousing manifesto laced with mystical analogies between creative production and spiritual awakening, Gropius set forth a vision for a new model of education that would unite the divisions between the fine and the applied arts. The school officially opened on April 1, 1919. Gropius’s request to rechristen the institution under a new name, Bauhaus State School ( Staatliches Bauhaus), was approved in March 1919. Upon the recommendation of Belgian architect Henry van de Velde, who had previously directed the Weimar School of Applied Arts, the Berlin architect Walter Gropius was invited to head the new school. 1 Walter Gropius, et al.įollowing the end of World War I, the provisional government of the short-lived Free State of Saxe-Weimar-Eisenach in Germany initiated an effort to reestablish two schools, the Weimar School of Applied Arts ( Weimar Kunstgewerbeschule) and the neighboring Academy of Fine Arts ( Hochschule für bildende Kunst), as a single, unified institution. ![]() © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonnįig-2.png Art and the people must form an entity … The aim is an alliance of the arts under the wing of great architecture. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |