The online gallery is here: Bauhaus images

 

FOUNDATION IN ART & DESIGN                             

THE BAUHAUS : PLANNING UTOPIA
 
'ONLY AN IDEA HAS THE POWER TO SPREAD SO FAR'   Mies van der Rohe

1     At the Pompidou Centre, Paris, 2008 (Richard and Sue Rogers and  Renzo Piano, 1971-77)
2    At the Bauhaus Arhive, Berlin, 2006
3    bauhaus-archiv museum of design ,  1976-79, Berlin
4    Webpage from the bauhaus-archiv website
5    Ikea Catalogue,  2005
6    The Ikea Hijab, designed by The Hijab Shop,  August 2005
7    The Ikea Hijab (reverse)
8    Chaise longue by Le Corbusier (1928), Side table by Eileen Gray (1927), and table lamp Carl Jucker and Wilhelm  Wagenfeld (1924)
9     My sitting room
10   My kitchen
11    My sitting room with Ara Lamp
12    Philippe Starck,  The Ara Lamp, Flos, 1988
13    Paul Kilsby, Triptych, 1980
14    Oliver Hemming, Nio Collection, 1990s
15    James Dyson, Dual Cyclone Robotic Cleaner, 1999
16    Philippe Starck, Low Cost Watch, 1998
17    Naoto Fukasawa, Muji 'Without Thought', CD player, 1990
18    Nina Müller, Light, 2006
19    Nina Müller, Light, 2006
20    A Fine Wireless Receiving Set, reproduced in Ozenfant,  Foundations of Modern Art, 1931
21    'The Pulpit', same source
22    Tuba Lamp, Istanbul, n.d.
23    Oskar Schlemmer, Utopia: Documents of Reality, 1921
24    The Machinery Court at the Great Exhibition, Crystal Palace, 1851
25    Paul Citroën, Metropolis, 1923
26    Walter Gropius and Adolf Meyer, competition entry for the Chicago Tribune Tower, 1922 (perspective drawing)
28    Marcel Breuer, Wassily chair, 1925, leather and chrome
29    Marianne Brandt and Hans Przyrembel, Adjustable Ceiling Light, 1926
30    Walter Gropius in his Cavalry Officer's uniform in the First World War
31     Walter Gropius, Manifesto, 1919
32     The Goals of the  Bauhaus (from bauhaus-archiv website)
33    Johannes Itten photographed in his Bauhaus robe, n.d.
34    Johannes Itten, A Group of Houses in Spring, 1916
35    gustav nagel, photographed at weimar, n.d..
36    Itten's basic course, with its emphasis on direct experience of materials
37    Johannes Itten, Shape Tree, 1921
38    Franz Singer, Materials and Textures Study from Itten's Basic Course, 1919
39    M Mirkin, Study of Contrasts, from Itten's Basic Course, 1922
40    Martin Jahn, Rhythmical Studies,  from Itten's Basic Course,  1921
41    Max Peiffer, Colour Study from Itten's Basic Course, 1920
42    Johannes Itten, Colour Wheel, 1920s
43    Paul Klee, Three Houses, 1922
44    Wassily Kandinsky, Swinging, 1925
45    Eugen Batz, studies from Kandinsky's colour seminars
46    Peter Keler, Cradle, 1922
47    Peter Keler, Cradle, 1922, second version
48    Alma Buscher, Building Block Game, 1924
49    Josef Hartwig, Chess Set, 1924
50    Theo Van Doesberg, Counter-Composition V, 1924
51    Gerrit Rietveld, Red/Blue Chair, 1918-23
52    László Moholy-Nagy, photographed at the Bauhaus in 1925
53    László Moholy-Nagy, The Light Space Modulator, 1925
54    László Moholy-Nagy, Photogram, n.d.
55    László Moholy-Nagy, Photograph, n.d.
56     László Moholy-Nagy, Berlin Radio Tower, 1925
57    Korona Krause, floating statue, from Moholy-Nagy's Preliminary Course, 1924
58    Marianne Brandt, Tea and Coffee Service, 1924
59    Marianne Brandt,  Brass Ashtray, 1924
60    Wolfgang Rössger and Friedrich Marby, Pots, 1924
61    Karl Jucker and William Wagenfeld, Glass Table Lamp, 1923/4
62    Joost Schmidt, Bauhaus Exhibition Poster, 1923
63    Gropius' office in 1925 at Weimar
64    Oscar Schlemmer, the gold sphere, from the triadic ballet, c.1922
65    Maria, from Fritz Lang's Metropolis, 1926
66    Heinz Loew, reconstruction of the triadic ballet set, 1967
67    Oscar Schlemmer, triadic ballet costumes, 1926,  Berlin Metropol theatre
69    Map showing the three successive locations of the Bauhaus
70    The Dessau Bauhaus, 1926
71    Herbert Bayer, Design For a Universal Type, 1926
73    Erich Comeriner, Type Collage, 1927
74    Hans Kessler, Transformation of A Newspaper, 1931
75    bauhaus jazzband, 1931
76    Gunta Stözl, tapestry, 1926-7
77    Suse Ackerman, blanket, 1924
78    Marcel Breuer, b33 sidechair, 1927/8
79    Mies van der Rohe, Weissenhof chair, 1927
80    Walter Gropius, plans for Wannsee Project, Berlin, 1930-31 (unrealised)
81    Iwao Yamawaki, The End of the Bauhaus, photocollage, 1932
82      Le Corbusier, Villa Savoye,  1929-30



Recommended reading:
Frank Whitford, Bauhaus, Thames and Hudson, 1991
Doreen Ehrlich, The Bauhaus, Bison Books, 1991
Magdalena Droste, The Bauhaus Archive, 1919-1933, Taschen, 1998

Excellent website:
http://www.bauhaus.de/english/


THE BAUHAUS MANIFESTO

The ultimate aim of all creative activity is a building! The decoration of buildings was once the noblest function of fine arts, and fine arts were indispensable to great architecture. Today they exist in complacent isolation, and can only be rescued by the conscious co-operation and collaboration of all craftsmen. Architects, painters, and sculptors must once again come to know and comprehend the composite character of a building, both as an entity and in terms of its various parts. Then their work will be filled with that true architectonic spirit which, as "salon art", it has lost.

The old art schools were unable to produce this unity; and how, indeed, should they have done so, since art cannot be taught? Schools must return to the workshop. The world of the pattern-designer and applied artist, consisting only of drawing and painting must become once again a world in which things are built. If the young person who rejoices in creative activity now begins his career as in the older days by learning a craft, then the unproductive "artist" will no longer be condemned to inadequate artistry, for his skills will be preserved for the crafts in which he can achieve great things.

Architects, painters, sculptors, we must all return to crafts! For there is no such thing as "professional art". There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. By the grace of Heaven and in rare moments of inspiration which transcend the will, art may unconsciously blossom from the labour of his hand, but a base in handicrafts is essential to every artist. It is there that the original source of creativity lies.

Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith.

WALTER GROPIUS  1919