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"Große Berliner , Junge Und 'Alte in Den Galerien W Erner Scholz, Geor~E Gro&Z, Corpora, Emil Schumacher
11 "Große Berliner , Junge und 'Alte in den Galerien W erner Scholz, Geor~e Gro&z, Corpora, Emil Schumacher "Groß~' ist die ,.Berliner" vorläufig nur der ren und Uniformen, mit dem Hakenkreuz auf und daß diese ohne weiteres erkennbar wür• Zahl nach (ca. 1200 Werke), aber es kann dem Schlips und anderem Zierat, dann fragt den. Corpora ist trotz der Titel ·(Dunkler noch werden. Das Niveau der Münchner man sich. wieso diese Schießbudenfiguren Frühling. Schlaf. Halblaut) kein Lyriker, er müßte auch für Berlin erreichbar sein. wenn innerhalb eines demokratischen Staates das ist wie die meisten seiner Landsleute span man mehrGäste einlüde und gelegentlich eine 'Rennen gewinnen konnten. Die Frage, wie nungsreich und dramatisch, nur sehr indirekt, Sonderschau ausländischer Kollegen in Be weit Grosz heute noch aktuell ist, stellt sich und in seinen Mitteln gewählt. Er hat ein tracht zöge; es bliebe für die Berliner noch jeder Besucher der Ausstellung. wunderbares Nachtblau, das vielen seiner genug Platz in den großen Messehallen am Eine andere Frage ist, ob gegenwärtige Bilder (alle von 1957 bis 1958) einen Zug von Funkturm. Immerhin, was sich aus der wie Maler wie Corpora und Schumacher sich Heiterkeit nach überstandenen Katastrophen dergegründeten · "Juryfreien" unter Leitung außerhalb der Welt fühlen und art pur ve:c1eiht. des .. Berufsverbandes bildender Künstler machen oder ob in diesen Arbeiten genau so Für Schumacher ist die Farbe kein ästhe• Berlin" (Walter Wellenstein) entwickelt hat, viel Stellungnahme steckt wie bei Grosz. Nun, tisches Phänomen, eher ein konstruktives.. ist gut und notwendig, vielleicht weniger für Grosz war ein Einzelfall, neben ihm malten Seine Bilder sind oft hell wie eine sonnenooo~ die Kunst als für die nicht arrivierten Künst• Kandinsky und Klee, Max Ernst und Joan beschienene Felswand oder schwarz wie ein ler und dasPublikum, das immer noch glaubt, Miro6, und bei ihnen war in denselben zwan Bahrtuch oder rot wie eine Feuersbrunst. -
The Bauhaus 1 / 70
GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. MEGGS • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933 -
Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c. -
Getty Research Institute | June 11 – October 13, 2019
Getty Research Institute | June 11 – October 13, 2019 OBJECT LIST Founding the Bauhaus Programm des Staatlichen Bauhauses in Weimar (Program of the State Bauhaus in Weimar) 1919 Walter Gropius (German, 1883–1969), author Lyonel Feininger (American, 1871–1956), illustrator Letterpress and woodcut on paper 850513 Idee und Aufbau des Staatlichen Bauhauses Weimar (Idea and structure of the State Bauhaus Weimar) Munich: Bauhausverlag, 1923 Walter Gropius (German, 1883–1969), author Letterpress on paper 850513 Bauhaus Seal 1919 Peter Röhl (German, 1890–1975) Relief print From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, January 1921) 850513 Bauhaus Seal Oskar Schlemmer (German, 1888–1943) Lithograph From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, July 1922) 850513 Diagram of the Bauhaus Curriculum Walter Gropius (German, 1883–1969) Lithograph From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, July 1922) 850513 1 The Getty Research Institute 1200 Getty Center Drive, Suite 1100, Los Angeles, CA 90049 www.getty.edu German Expressionism and the Bauhaus Brochure for Arbeitsrat für Kunst Berlin (Workers’ Council for Art Berlin) 1919 Max Pechstein (German, 1881–1955) Woodcut 840131 Sketch of Majolica Cathedral 1920 Hans Poelzig (German, 1869–1936) Colored pencil and crayon on tracing paper 870640 Frühlicht Fall 1921 Bruno Taut (German, 1880–1938), editor Letterpress 84-S222.no1 Hochhaus (Skyscraper) Ludwig Mies van der Rohe (German, 1886–1969) Offset lithograph From Frühlicht, no. 4 (Summer 1922): pp. 122–23 84-S222.no4 Ausstellungsbau in Glas mit Tageslichtkino (Exhibition building in glass with daylight cinema) Bruno Taut (German, 1880–1938) Offset lithographs From Frühlicht, no. 4 (Summer 1922): pp. -
Colour, Form, Painting
MODULE 8 Colour, form, painting SCHOOL, WORKSHOP Age 12–15, 2 Hours, 3 Lessons School, Workshop Age 12–15, 2 hours, 3 lessons Painting, collage Theory of colour, theory of form, Wassily Kandinsky, Paul Klee YOU WILL NEED A4 paper, A3 paper, coloured paper, coloured pencils, watercolours, scissors, glue sticks, colour copies of paintings by Wassily Kandinsky and Paul Klee INSTRUCTIONS In this module participants learn about the theory of form and colour, and about the painting of the famous artists, Bauhaus masters and pioneers of abstract art, Wassily Kandinsky and Paul Klee. First they examine selected works by the two artists and investigate the effect and expression of colour and form. Then they produce their own interpretations using techniques of painting and collage. Step 1: The group examines paintings by Kandinsky and Klee. Participants describe what they see and what figures they can discover. There are no limits to the imagination here. Step 2: In the next step special attention is paid to colours, lines and basic geometrical forms. Which elements appear? How are they combined with one another? Can the paintings be completely reduced to geometrical forms (circles, triangles, squares and rectangles)? Step 3: Now colour copies of the paintings are distributed and the participants cut out the geometrical forms. They rearrange these to make their own collages, combining elements from different paintings and using coloured pencils and watercolours to create their own figures. Additional geometrical forms can be cut out of coloured paper and included in the collages. Step 4: Finally the pictures are displayed on the wall and viewed by the group. -
Sammlung Haniel
SAMMLUNG HANIEL 11. Dezember 2020 1 SAMMLUNG HANIEL Auktionen Evening Sale / Contemporary Art 11. Dezember 2020 DIE SAMMLUNG HANIEL Ende der 1940er Jahre. Es herrscht Aufbruchstimmung in Europa. Portfolio gestaltet, aber nicht das operative Geschäft im Detail Plötzlich scheint alles möglich. In dieser Atmosphäre stellen Kunst steuert. Dieser Umbruch soll auch am Duisburger Franz-Haniel-Platz und Wirtschaft einmal mehr ihre Gestaltungskraft unter Beweis und deutlich werden, den das Unternehmen komplett umstrukturiert. erfinden sich und die Welt neu: In der Wirtschaft führen die wieder In diesem Zuge hält die Kunst – genauer: das Informel – ab 1984 gewonnene Freiheit und Hoffnung zum Wirtschaftswunder; in der Einzug am ‚Platz’. bildenden Kunst zu einer freien, vom augenblicklichen Gefühl be- stimmten Malweise: dem Informel. Im Rückblick auf diese Epoche Die Sammlung Haniel ist nicht alltäglich, aber Teil des Alltags am fand das Unternehmen Haniel den eigenen Aufschwung bildlich dar- Franz-Haniel-Platz in Duisburg-Ruhrort: Kunst findet sich in Fluren gestellt. Diese Erkenntnis einer Parallelität von Kunst und Wirtschaft und Besprechungsräumen ebenso wie in den Büros der Mitarbeiter. bildete den Ausgangspunkt für die Sammlung Haniel. Die Gemälde, Grafiken und Skulpturen dienen als Inspiration, unge- wöhnliche Lösungen zu suchen. Und sie stärken den Mut, an den Für die Sammlungstätigkeit gelten dieselben Prinzipien wie für die Erfolg des Neuen zu glauben. wirt schaftliche Arbeit: Qualität statt Masse, nachhaltige Wertsteige- rung statt schnellen Gewinns, langfristige Strategie statt kurzlebiger Pläne des Unternehmens heute am Franz-Haniel-Platz für einen Trends. Auf diese Weise ist aus einem Duisburger Familienunterneh- modernen Campus mit dem künftigen Office „New One“, dem his- men eine internationale Unternehmensgruppe entstanden, die unver- torischen Gründerhaus und der ‚Haniel Akademie’ bieten nicht mehr ändert zu einhundert Prozent in Familienbesitz ist. -
Germany in NYC: New York City German Event and Culture Guide
Germany in NYC: New York City German event and culture guide. 04.26.07 Sign up now - we'll keep you in the loop ! Home | About Us | Support | Contact Just Ducky: The literal translation of the popular Entenmann brand of bakery products is 'duck man' 03.15 - 05.12 Richard Oelze @ Ubu Gallery Ubu Gallery 416 East 59th St. New York, NY Phone: 212 753 4444 http://www.ubugallery.com Paintings & Drawings from the 1950s & 1960s, an exhibition of works by a one- time Bauhaus student Richard Oelze whose early contact with the works of Dalí, Ernst and Magritte made him one of the few German artists with direct contacts to and affinities with the Paris Surrealists. Oelze’s works capture his belief that the making of art was an act akin to clairvoyance; that the artist was like a blind man, incapable of seeing reality, but capable of prophesy; and that history would certainly confirm these prophecies, which were invariably of a sinister nature. Oelze evidenced an early artistic talent and, following brief military service in World War I, attended the School of Applied Arts in Magdeburg, Germany, where he had been born into an ascetic, middle-class family in 1900. Between 1921 and 1925, Oelze was a student at the Bauhaus in Weimar, where he studied with Walter Gropius, Johannes Itten, Oskar Schlemmer and, most probably, with Paul Klee. Around 1929, Oelze was exposed to the work being done by the Surrealist group in Paris, particularly that of Dalí, Ernst and Magritte, and this determined a course for his own work from which he did not waver for the remaining 50 years of his life. -
Richard Oelze Paintings & Drawings from the 1950S & 1960S
Richard Oelze Paintings & Drawings from the 1950s & 1960s Richard Oelze (1900–1980) Paintings & Drawings from the 1950s & 1960s UBU GALLERY 416 EAST 59 STReeT NEW YORK NY 10022 T: 212 753 4444 F: 212 753 4470 E: [email protected] WWW.UBUGALLERY.COM OUR PARTneR GALERIE BERINSON AUGUSTSTRASSE 22 D-10117 BeRLIN T: +49-30-28 38 79 90 F: +49-30-28 38 79 99 E: [email protected] WWW.BERINSON.de IN COLLABORATION WITH GALERIE BROCKSTEDT Ubu Gallery is pleased to present Richard Oelze: Paintings & Drawings from the 1950s & 1960s, an exhibition of more than 40 works by a one-time Bauhaus student whose early contact with the works of Dalí, Ernst and Magritte made him one of the few German artists with direct contacts to and affinities with the Paris Surrealists. Oelze’s works capture his belief that the making of art was an act akin to clairvoyance; that the artist was like a blind man, incapable of seeing reality, but capable of prophesy; and that history would certainly confirm these prophecies, which were invariably of a sinister nature. Oelze evidenced an early artistic talent and, following brief military service in World War I, attended the School of Applied Arts in Magdeburg, Germany, where he had been born into an ascetic, middle-class family in 1900. Between 1921 and 1925, Oelze was a student at the Bauhaus in Weimar, where he studied with Walter Gropius, Johannes Itten, Oskar Schlemmer and, most probably, with Paul Klee. Around 1930, Oelze was exposed to the works being made by the Surrealist group in Paris and this determined a course for his own work from which he did not waver for the remaining 50 years of his life. -
AUTUMN 2018 ART ARCHITECTURE DESIGN PHOTOGRAPHY Detail from Anna Atkins, Dictyota Dichotoma, in the Young State; and in Fruit, C
AUTUMN 2018 ART ARCHITECTURE DESIGN PHOTOGRAPHY Detail from Anna Atkins, Dictyota dichotoma, in the young state; and in fruit, c. 1849, Cyanotype, 10.5 x 8.25 in. / 26.5 x 21 cm, Spencer Collection, The New York Public Library From Sun Gardens: The Cyanotypes of Anna Atkins ( see page 45) ART FASHION 50 ART MOVEMENTS YOU SHOULD KNOW: FROM IMPRESSIONISM TO PERFORMANCE ART 21 CONTEMPORARY MUSLIM FASHION 36 A YEAR IN IMPRESSIONISM 2-3 EAST MEETS WEST: JEWELS OF THE MAHARAJAS FROM THE AL THANI COLLECTION 37 BEFORE THE FALL: GERMAN AND AUSTRIAN ART IN THE 1930S 23 GIOVANNI BELLINI: THE ART OF CONTEMPLATION 5 FOOD AND DRINK BLIND FAITH: BETWEEN THE VISCERAL AND THE COGNITIVE IN CONTEMPORARY ART 31 FREE THE TIPPLE: KICKASS COCKTAILS INSPIRED BY ICONIC WOMEN 7 COLOR AND LIGHT: THE NEO-IMPRESSIONIST HENRI-EDMOND CROSS 25 WILD: ADVENTURE COOKBOOK 8 WILLIAM CORDOVA: NOW’S THE TIME: NARRATIVES OF SOUTHERN ALCHEMY 49 NORTH WILD KITCHEN: HOME COOKING FROM THE HEART OF NORWAY 9 ENRICO DAVID: GRADATIONS OF SLOW RELEASE 50 WILLIAM FORSYTHE: CHOREOGRAPHIC OBJECTS 48 PHOTOGRAPHY HENRY FUSELI: DRAMA AND THEATRE 27 100 GREAT STREET PHOTOGRAPHS 6 GAUGUIN: A SPIRITUAL JOURNEY 39 CONGO TALES: TOLD BY THE PEOPLE OF MBOMO 29 JEFFREY GIBSON: THIS IS THE DAY 46 FASHION IMAGE REVOLUTION 16 ALEXANDER VON HUMBOLDT: THE COMPLETE DRAWINGS FROM THE AMERICAN TRAVEL DIARIES 4 GREAT ENGLISH INTERIORS 13 I WAS RAISED ON THE INTERNET 51 STEVE KAHN: THE HOLLYWOOD SUITES 44 JITISH KALLAT 28 DOROTHEA LANGE: POLITICS OF SEEING 14-15 ERNST LUDWIG KIRCHNER: IMAGINARY TRAVELS 26 -
SURVEY 9: COLOUR THEORY and COOL TYPE (1925-1930) 9 Art Deco, the Bauhaus, Jan Tschichold and the Leap Forward Into Modern Typography
SURVEY 9: COLOUR THEORY AND COOL TYPE (1925-1930) 9 Art Deco, the Bauhaus, Jan Tschichold and the leap forward into modern typography. What world events influenced design in this period? Gropius’s objective for the school was a radical concept: In 1925, 25,000 Ku Klux Klansmen marched on Wash- to reimagine the material world to reflect the unity of all ington. First founded in 1865, the KKK was a national the arts. Fine art, design of all kinds and craftsmanship fraternal organization founded on the premise of white were taught in unison using hands-on techniques. The supremacy. The power of the Klan peaked during the Bauhaus went on to have a profound impact on all fields 1920s when urbanization, industrialization, and immigra- of art and design across the world, both through its teach- tion frightened many Americans. ing methods and its famous graduates. Some graduates and instructors spread the Bauhaus ethos to the U.K. In 1928, 15 nations, including the United States, signed and the U.S., as they fled the Nazi regime in the 1930’s. the Kellogg-Briand pact “outlawing” war. The unenforce- Likely influenced by Gropius’s (and fellow architect able pact was made a mockery of by the rise of European Ludwig Mies van der Rohe’s) involvement in Hermann fascist states in the 1930s. Muthesius’s Deutscher Werkbund—which continued to In 1929, Canadian women were granted the right to be operate until 1933—the Bauhaus fostered relationships considered “persons.” Canada’s first female magistrate, between crafts and industry in order to bring good design Emily Murphy, was humiliated while hearing her first to the masses. -
Press Release
Press Release Bauhaus legacy extends to New York Works by Bauhaus-trained Frans Wildenhain on view at upcoming exhibit ROCHESTER, N.Y. – The global legacy of Bauhaus extends from its roots in Weimar, Germany, across time and space to some of the most unexpected of locations. Rochester Institute of Technology (RIT) is one such place. RIT’s Western New York campus is where Bauhaus-trained Frans Wildenhain, a Guggenheim Fellowship recipient, taught for 20 years. Wildenhain learned his craft from Bauhaus masters Gerhard Marcks and Max Krehan, and he shared it with emerging ceramics students. His blended training of artistic and functional design at Bauhaus carried through for the rest of his life in both his art and teaching-style. A Master Potter, Wildenhain was a seminal figure at RIT during the formative years of the School for American Craftsmen, now named the School for American Crafts (SAC). In addition to Wildenhain’s legacy at RIT, the school now is in possession of more than 300 of his works thanks to a generous donation from one collector. Approximately 150 ceramic pieces from the collection will be on display at the RIT campus Aug. 20 through Oct. 2, 2012, in the Bevier Gallery and Dyer Arts Center. The exhibition, Frans Wildenhain 1950-75: Creative and Commercial American Ceramics at Mid-century, is free and open to the public. The Bauhaus association does not end with the upcoming exhibit of Wildenhain’s work. Like the Bauhaus, RIT is of a blended framework: a product of the Rochester Athenaeum, devoted to science and technology, and the Rochester Mechanics Institute, founded to train students in technology and industrial arts, within a humanistic context. -
Smart Museum of Art the University of Chicago
SMARTSMART MUSEUM OF ART THE UNIVERSITY OF CHICAGO BULLETIN 2010–2012 WELCOME The Smart Museum’s 2010-2012 Bulletin to great e!ect through iPads accompanying special exhibitions EXPLORE is an opportunity to reflect on two and videos featuring original and intimate interviews with Our new interactive online Bulletin format allows you to years of exceptional growth in the life artists. In 2011, we also revamped our approach to membership easily view original content of this institution. During this time, and the annual fund by uniting them in the more streamlined on our Vimeo channel, we made significant additions to the Smart Partners program. It is not enough for us to present slideshows on Flickr, and other great resources. collection, collaborated with exciting the most distinctive and engaging visual arts programming Hyperlinks throughout this new partners, and presented inspiring possible: We also want to fully convey the vibrancy of our work document are indicated by exhibitions and programs. Guided by to all of our audiences. bold blue text. You can also skip from section to section a new strategic vision, we embraced a The Bulletin allows us to acknowledge everyone who, in a vari- using the buttons at the more active leadership role on the University of Chicago campus. ety of ways, has helped to encourage, challenge, and sustain the bottom of the page. Enjoy And while our sta! and budget increased judiciously alongside Smart Museum. Indeed, none of the accomplishments found in exploring! our ambitions, we are pleased to report that we have maintained the following pages would have been possible without our gener- CO N N EC T a balanced budget every year since the Museum opened in 1974.