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Bauhaus,
Art as life



Barbican Art Gallery,
London
Visited June 2012
Bauhaus:

                                                 the art school seen to
                                                 embody sober, purist
                                                 German modernism:

                                                 form follows function
                                                 Form Folgt Funktion



Eugene Batz, “The Spatial Effects of Colors and Forms”
from Kandinsky’s course (1929)
The Barbican’s exhibition Bauhaus: Art as Life is irreverent,
unexpected, and ranges broadly across documentary material and
works of art and design.


                                               Josef Albers’s set of
                                               four stacking tables




Paintings, usually overlooked in accounts of the Bauhaus, play a
starring role: the entire Bauhaus story is summed up by the gulf
between Lyonel Feininger’s expressionist “Studio Window”
(1919), its surging crystalline planes symbolising Gropius’s
founding Utopian vision, and Kandinsky’s sombre, abstract
“Development in Brown” (1933), made shortly before the Bauhaus
was closed under Nazi pressure.
Lyonel
Feininger

Studio Window
1919
Marcel Breuer’s tubular steel Club Chair, Anni Alber’s textiles, Wassily
Kandinsky’s paintings, Oskar Schlemmer’s costumes and Walter
Gropius’ buildings...




These key pieces sourced from institutes across the globe – in
particular from the three cornerstone collections of Bauhaus: Klassik
Stiftung Weimar, Bauhaus-Archiv Berlin and Stiftung Bauhaus.
Bauhaus
Bauhaus
Bauhaus
Marcel-Breuer
Club chair, 1925–26
Victoria and Albert Museum, London
Bauhaus
Bauhaus
Anni Albers
Wall hanging
1926 (remade 1964)

Bauhaus-Archiv Berlin
Anni Albers,

Tablecoth fabric
sample,1930

M.o.M.A., New York
Gunta Stölzl
Five Choirs, 1928.

Die Museen für Kunst und
Kultursgeschichte der
Hansestadt Lübeck
Marianne Brand
tea set, 1924




The formal principles of the Bauhaus school: circle, globe and square are
the basic forms of the construction.
Bauhaus
Bauhaus
Wassili
Kandinsky,

Circles in a
Circle,
1923
Bauhaus
Peter Keler,

De Stijl 1, 1922
Kandinsky
Development in brown
(Entwicklung in Braun), 1933
Bauhaus
Paul Klee painted luminous, interlocking, architectonic abstractions –
“Double Tower”, “Tomb in Three Parts” – that resemble stained glass
Paul Klee's Tomb in Three Parts 2
Paul Klee
Double tower
(duppelturm)

Private collection,
Franz Marc Museum
Oskar Schlemmer
Triadic Ballet,
the wild theatre design of Oskar Schlemmer
Bauhaus
Bauhaus
Bauhaus was founded, in Weimar by Walter Gropius in 1919 –
the year in which he published what has become known as the
Bauhaus manifesto, Programme of the State Bauhaus Weimar.
Developed from “romantic socialist and utopian aspirations,”
the pamphlet called for artists to return to the crafts.

“Masters of form” and “workshop masters” would instil formal
and theoretical instruction and the technical skills in which to
realise them. The products of these workshops would eschew
distinction as either art or craft and instead realise something far
greater, a term that resonates with today’s multidisciplinary
ambitions, to unite the arts in Gesamtkunstwerk or, “total work
of art.”
WalterGropius,
                                                     Curriculum Graph




Stone, wood, metal, fabric, colour, glass and sound – the base for building art
Bauhaus (1925),
by Walter Gropius
Bauhaus – Art as Life
   Barbican Art Gallery,
   3 May 2012 - 12 August 2012

• http://www.barbican.org.uk/artgallery/event-detail.asp?ID=12409




                                                 ©Mário Ricca, 2012

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Bauhaus

  • 1. Bauhaus, Art as life Barbican Art Gallery, London Visited June 2012
  • 2. Bauhaus: the art school seen to embody sober, purist German modernism: form follows function Form Folgt Funktion Eugene Batz, “The Spatial Effects of Colors and Forms” from Kandinsky’s course (1929)
  • 3. The Barbican’s exhibition Bauhaus: Art as Life is irreverent, unexpected, and ranges broadly across documentary material and works of art and design. Josef Albers’s set of four stacking tables Paintings, usually overlooked in accounts of the Bauhaus, play a starring role: the entire Bauhaus story is summed up by the gulf between Lyonel Feininger’s expressionist “Studio Window” (1919), its surging crystalline planes symbolising Gropius’s founding Utopian vision, and Kandinsky’s sombre, abstract “Development in Brown” (1933), made shortly before the Bauhaus was closed under Nazi pressure.
  • 5. Marcel Breuer’s tubular steel Club Chair, Anni Alber’s textiles, Wassily Kandinsky’s paintings, Oskar Schlemmer’s costumes and Walter Gropius’ buildings... These key pieces sourced from institutes across the globe – in particular from the three cornerstone collections of Bauhaus: Klassik Stiftung Weimar, Bauhaus-Archiv Berlin and Stiftung Bauhaus.
  • 12. Anni Albers Wall hanging 1926 (remade 1964) Bauhaus-Archiv Berlin
  • 14. Gunta Stölzl Five Choirs, 1928. Die Museen für Kunst und Kultursgeschichte der Hansestadt Lübeck
  • 15. Marianne Brand tea set, 1924 The formal principles of the Bauhaus school: circle, globe and square are the basic forms of the construction.
  • 23. Paul Klee painted luminous, interlocking, architectonic abstractions – “Double Tower”, “Tomb in Three Parts” – that resemble stained glass
  • 24. Paul Klee's Tomb in Three Parts 2
  • 25. Paul Klee Double tower (duppelturm) Private collection, Franz Marc Museum
  • 27. Triadic Ballet, the wild theatre design of Oskar Schlemmer
  • 30. Bauhaus was founded, in Weimar by Walter Gropius in 1919 – the year in which he published what has become known as the Bauhaus manifesto, Programme of the State Bauhaus Weimar. Developed from “romantic socialist and utopian aspirations,” the pamphlet called for artists to return to the crafts. “Masters of form” and “workshop masters” would instil formal and theoretical instruction and the technical skills in which to realise them. The products of these workshops would eschew distinction as either art or craft and instead realise something far greater, a term that resonates with today’s multidisciplinary ambitions, to unite the arts in Gesamtkunstwerk or, “total work of art.”
  • 31. WalterGropius, Curriculum Graph Stone, wood, metal, fabric, colour, glass and sound – the base for building art
  • 33. Bauhaus – Art as Life Barbican Art Gallery, 3 May 2012 - 12 August 2012 • http://www.barbican.org.uk/artgallery/event-detail.asp?ID=12409 ©Mário Ricca, 2012