The Staatliches Bauhaus (), commonly known as the , was a German art school operational from 1919 to 1933 that combined crafts and the fine arts.Oxford Dictionary of Art and Artists (Oxford: Oxford University Press, 4th edn., 2009), , pp. 64–66 The school became famous for its approach to design, which attempted to unify individual artistic vision with the principles of mass production and emphasis on function.
The Bauhaus was founded by architect Walter Gropius in Weimar. It was grounded in the idea of creating a Gesamtkunstwerk ("comprehensive artwork") in which all the arts would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, modernist architecture, and architectural education. The Bauhaus movement had a profound influence on subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Staff at the Bauhaus included prominent artists such as Paul Klee, Wassily Kandinsky, Gunta Stölzl, and László Moholy-Nagy at various points.
The school existed in three German cities—Weimar, from 1919 to 1925, Dessau, from 1925 to 1932, and Berlin, from 1932 to 1933. During this period, it had three architect-directors: Walter Gropius from 1919 to 1928; Hannes Meyer from 1928 to 1930; and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism. Internationally, former key figures of Bauhaus were successful in the United States and became known as the avant-garde for the International Style. The White City of Tel Aviv, to which numerous Jewish Bauhaus architects emigrated, has the highest concentration of the Bauhaus' international architecture in the world.
The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For example, the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source. In 1930, the mayor of Dessau dismissed Hannes Meyer following a scandal about alleged use of school funds for communist causes, appointing Mies van der Rohe as his successor . van der Rohe transformed the Bauhaus into a private school, and barred supporters of the previous' director Hannes Meyer from the school. Still, the Dessau campus was shuttered in 1932, after the Nazi party took over the local government of the Free State of Anhalt.
Terms and concepts Several specific features are identified in the Bauhaus forms and shapes: simple geometric shapes like rectangles and spheres, without elaborate decorations. Buildings, furniture, and fonts often feature rounded corners, sometimes rounded walls, or curved chrome pipes. Some buildings are characterized by rectangular features, for example protruding balconies with flat, chunky railings facing the street, and long banks of windows. Some outlines can be defined as a tool for creating an ideal form, which is the basis of the architectural concept.Vasileva E. (2016) Ideal and utilitarian in the international style system: subject and object in the design concept of the 20th century // International Journal of Cultural Research, 4 (25), 72–80.
Bauhaus and German modernism After Germany's defeat in World War I and the establishment of the Weimar Republic, a renewed liberal spirit allowed an upsurge of radical experimentation in all the arts, which had been suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated: Gropius did not share these radical views, and said that Bauhaus was entirely apolitical.Evans, Richard J. The Coming of the Third Reich, p. 416 Just as important was the influence of the 19th-century English designer William Morris (1834–1896), who had argued that art should meet the needs of society and that there should be no distinction between form and function.Funk and Wagnall's New Encyclopaedia, Vol 5, p. 348 Thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.
However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as early as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations commonly associated with Gropius and the Bauhaus—the radically simplified forms, the rationality and functionality, and the idea that mass production was reconcilable with the individual artistic spirit—were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship versus mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1,870 members (by 1914).
German architectural modernism was known as Neues Bauen. Beginning in June 1907, Peter Behrens' pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period.
The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation and towards rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise "to promote the object of assuring to every German a healthful habitation" written into the new Weimar Constitution (Article 155). Ernst May, Bruno Taut and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate.
Bauhaus and Vkhutemas
The Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization and scope. The two schools were the first to train artist-designers in a modern manner. Great Soviet Encyclopedia; Bolshaya Sovetskaya Entsiklopediya, Both schools were state-sponsored initiatives to merge traditional craft with modern technology, with a basic course in aesthetic principles, courses in color theory, industrial design, and architecture. Vkhutemas was a larger school than the Bauhaus,Wood, Paul (1999) The Challenge of the Avant-Garde. New Haven: Yale University Press , p. 244 but it was less publicised outside the Soviet Union and consequently, is less familiar in the West.
With the internationalism of modern architecture and design, there were many exchanges between the Vkhutemas and the Bauhaus.Colton, Timothy J. (1995) Moscow: Governing the Socialist Metropolis. Cambridge MA: Harvard University Press ; p. 215 The second Bauhaus director Hannes Meyer attempted to organise an exchange between the two schools, while Hinnerk Scheper of the Bauhaus collaborated with various Vkhutein members on the use of colour in architecture. In addition, El Lissitzky's book Russia: an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there.
History of the Bauhaus Weimar
The school was founded by Walter Gropius in Weimar on 1 April 1919, as a merger of the Grand Ducal Saxon Academy of Fine Art and the Grand Ducal Saxon School of Arts and Crafts for a newly affiliated architecture department. Its roots lay in the arts and crafts school founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906, and directed by Belgian Art Nouveau architect Henry van de Velde. When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, Hermann Obrist, and August Endell as possible successors. In 1919, after delays caused by World War I and a lengthy debate over who should head the institution and the socio-economic meanings of a reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus. In the pamphlet for an April 1919 exhibition entitled Exhibition of Unknown Architects, Gropius, still very much under the influence of William Morris and the British Arts and Crafts Movement, proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." Gropius's neologism Bauhaus references both building and the Bauhütte, a premodern guild of stonemasons. The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty of the Bauhaus in 1919. By the following year their ranks had grown to include German painter, sculptor, and designer Oskar Schlemmer who headed the theatre workshop, and Swiss painter Paul Klee, joined in 1922 by Russian painter Wassily Kandinsky. The first major joint project completed by the Bauhaus was the Sommerfeld House, which was built between 1920 and 1921. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky.