Was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933.
Early history and political movements
Weimar Germany was the name given to the period of German history from 1919 until 1933. It got its name from the fact that the constitution for the post war republic was drawn up at the town of Weimar in South Eastern Germany. The town was chosen for the constituent assembly because it was peaceful compared to revolution torn Berlin and as a signal to the Allied peacemakers in Paris. The hope was that the Allies would treat more leniently a new peaceful German Republic rather than the militaristic empire that had led Germany into war.
The History of the Republic can be divided into three main areas:
1. The Years of Turmoil, 1919-1923
2. The Stresemann Era, 1924-1929
3. The Collapse of Weimar, 1930-1933
The impact of the horrible experiences in the First World War, poverty and inflation, Architect Walter Gropius was appointed to head a new institution that influenced strongly Design, Architecture and Art. This was the age of the Bauhaus, a movement which was a reaction to social change and which aspired to an aesthetic relevance. The "New Man" became the ideal, a concept that also expressed itself in living. The Bauhaus Design showed a purism with emphasis on straight edges and smooth, slim forms.
From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or 'preliminary course' that was the introduction to the ideas of the Bauhaus. Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel. He was also influenced in respect to aesthetics by the work of the Blaue Reiter group in Munich as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922. Itten was replaced by the Hungarian designer László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favored by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-economic movement that had been going on at least since 1907 when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.
Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, without the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the "Völkisch movement", instead declaring "we want an architecture adapted to our world of machines, radios and fast cars." Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic pretensions. The Bauhaus issued a magazine called Bauhaus and a series of books called "Bauhausbücher". Since the Weimar Republic lacked the quantity of raw materials available to the United States and Great Britain, it had to rely on the proficiency of a skilled labor force and an ability to export innovative and high quality goods. Therefore designers were needed and so was a new type of art education. The school's philosophy stated that the artist should be trained to work with the industry.
Founding of Bauhaus
The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. 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 the destruction of 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.
Members of the Bauhaus:
Anni Albers
Josef Albers
Herbert Bayer
Max Bill
Marianne Brandt
Marcel Breuer
Avgust Černigoj
Christian Dell
Werner Drewes
Lyonel Feininger
Naum Gabo
Ludwig Hilberseimer
Ludwig Hirschfeld Mack
Johannes Itten
Wassily Kandinsky
Paul Klee
Otto Lindig
Gerhard Marcks
László Moholy-Nagy
Piet Mondrian
Oskar Schlemmer
Lothar Schreyer
Joost Schmidt
Naum Slutzky
Gunta Stölzl
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
Principles
The Bauhaus was based on the principles of the 19th-century English designer William Morris and the Arts and Crafts movement that art should meet the needs of society and that no distinction should be made between fine arts and practical crafts. It also depended on the more forward-looking principles that modern art and architecture must be responsive to the needs and influences of the modern industrial world and that good designs must pass the test of both aesthetic standards and sound engineering. Thus, classes were offered in crafts, typography, and commercial and industrial design, as well as in sculpture, painting, and architecture. The Bauhaus style, also known as the International Style, was marked by the absence of ornament and ostentatious facades and by harmony between function and the artistic and technical means employed.
Influences
However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as far back 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).
Design
Quotes
‘…Bauhaus Printmaking/Graphic Art
The printmaking workshop only operated when the school was located in Weimar. Its artistic director was Lyonel Feininger, while its supervising craftsman was the lithographer Carl Zaubitzer. Open to use by both staff and students, it produced Feininger's "Twelve woodcuts" as well as a Portfolio of the State Bauhaus School, and started a New European Graphics project highlighting all the major tendencies of the international avant-garde - from Futurism to Dada, Constructivism, and Surrealism. In addition, the print workshop took on outside commissions such as lithograph-production for Piet Mondrian and Alexander Rodchenko.
The workshop was also an early pioneer of typography and graphic art, through its poster art and typography designs for various internal projects. These included production of Bauhaus postcards - widely distributed as original graphic miniatures - whose typeface and image became an important advertising medium for the school….’
"The ultimate aim of all artistic activity is building! ... Architects, sculptors, painters, we must all get back to craft! ... The artist is a heightened manifestation of the craftsman. ... Let us form ... a new guild of craftsmen without the class divisions that set out to raise an arrogant barrier between craftsmen and artists! ... Let us together create the new building of the future which will be all in one: architecture and sculpture and painting."
-Walter Gropius 1919
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