The Bauhaus and Weimar Modernism
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CHAPTER 2 the Period of the Weimar Republic Is Divided Into Three
CHAPTER 2 BERLIN DURING THE WEIMAR REPUBLIC The period of the Weimar Republic is divided into three periods, 1918 to 1923, 1924 to 1929, and 1930 to 1933, but we usually associate Weimar culture with the middle period when the post WWI revolutionary chaos had settled down and before the Nazis made their aggressive claim for power. This second period of the Weimar Republic after 1924 is considered Berlin’s most prosperous period, and is often referred to as the “Golden Twenties”. They were exciting and extremely vibrant years in the history of Berlin, as a sophisticated and innovative culture developed including architecture and design, literature, film, painting, music, criticism, philosophy, psychology, and fashion. For a short time Berlin seemed to be the center of European creativity where cinema was making huge technical and artistic strides. Like a firework display, Berlin was burning off all its energy in those five short years. A literary walk through Berlin during the Weimar period begins at the Kurfürstendamm, Berlin’s new part that came into its prime during the Weimar period. Large new movie theaters were built across from the Kaiser Wilhelm Memorial church, the Capitol und Ufa-Palast, and many new cafés made the Kurfürstendamm into Berlin’s avant-garde boulevard. Max Reinhardt’s theater became a major attraction along with bars, nightclubs, wine restaurants, Russian tearooms and dance halls, providing a hangout for Weimar’s young writers. But Berlin’s Kurfürstendamm is mostly famous for its revered literary cafés, Kranzler, Schwanecke and the most renowned, the Romanische Café in the impressive looking Romanische Haus across from the Memorial church. -
Energy and Environmental Technologies. Environmental Protection, Resource Efficiency, Green Tech – Key Technologies Made in Thuringia
09/2015 Energy and Environmental Technologies. Environmental protection, resource efficiency, green tech – key technologies made in Thuringia. Thuringian companies are among the world‘s leading providers of state-of-the-art power and environmental technologies: from conventional environmental protection and renewable energies to up-to-date technologies allowing an increase in energy efficiency. Quality made in Thuringia is in big demand, especially in waste Thuringia‘s energy and environmental technology processing, water and wastewater treatment, air pollution con- industry at a glance: trol, revitalization and renewable energies. By working closely > 366 companies with research institutions in these fields, Thuringia‘s companies > 5 research institutes can fully exploit their potential for growth. > 7 universities > leading engineering service providers in disciplines Proportion of companies such as industrial plant construction, hydrogeology, environmental geology and utilities (Source: In-house calculations according to LEG Industry/Technology Information Service, > market and technology leaders such as ENERCON, July 2013, N = 366 companies, multiple choices possible) Siemens and Vattenfall Seize the opportunities that our region offers. Benefit from a prime location in Europe’s heartland, highly skilled workers and a world-class research infrastructure. We provide full-service support for any investment project – from site search to project implementation and future expansions. Please contact us. www.invest-in-thuringia.de/en/top-industries/ environmental-technologies/ Skilled specialists – the keystone of success. Thuringia invests in the training and professional development of skilled workers so that your company can develop green, energy-efficient solutions for tomorrow. This maintains the competitiveness of Thuringian companies in these times of global climate change. -
Museums Castles Gardens the Weimar Cosmos
Opening Times and Prices TOURS Winter Summer Adults Reduced Pupils Goethe National Museum Museums and historical sites MTWTFSS starts on last starts on last 16 – 20 years Tour 1: A Sunday in October Sunday in March Goethe and Classical Weimar with the Goethe Residence MUSEUMS Bauhaus-Museum Weimar* 10.00 am – 2.30 pm 10.00 am – 2.30 pm € 11.00 € 7.00 € 3.50 5 min. Goethe National Museum, Wittumspalais, 10.00 am – 6.00 pm 10.00 am – 6.00 pm € 11.00 € 7.00 € 3.50 Park on the Ilm and the Goethe Gartenhaus B Wittumspalais Ducal Vault 10.00 am – 4.00 pm 10.00 am – 6.00 pm € 4.50 € 3.50 € 1.50 All year round CASTLES Duration: 5 hours, distance: ca. 1,5 km Goethe Gartenhaus 10.00 am – 4.00 pm 10.00 am – 6.00 pm € 6.50 € 5.00 € 2.50 8 min. Cost: Price of admission to the respective museums Tip: Goethe National Museum 9.30 am – 4.00 pm 9.30 am – 6.00 pm € 12.50 € 9.00 € 4.00 Park on 10 min. Goethe- und The exhibition “Flood of Life – Storm of Deeds” reveals how C GARDENS Goethe- und Schiller-Archiv 8.30 am – 6.00 pm 8.30 am – 6.00 pm free modern Goethe’s ideas still are today. We recommend planning the Ilm Schiller-Archiv Opening times vary at the following at least two hours for your visit to the Goethe Residence where weekends: 12/13 Jan; 13/14 Apr; 11.00 am – 6.00 pm 10.00 am – 4.00 pm free 8 min. -
Historical Aspects of Thuringia
Historical aspects of Thuringia Julia Reutelhuber Cover and layout: Diego Sebastián Crescentino Translation: Caroline Morgan Adams This publication does not represent the opinion of the Landeszentrale für politische Bildung. The author is responsible for its contents. Landeszentrale für politische Bildung Thüringen Regierungsstraße 73, 99084 Erfurt www.lzt-thueringen.de 2017 Julia Reutelhuber Historical aspects of Thuringia Content 1. The landgraviate of Thuringia 2. The Protestant Reformation 3. Absolutism and small states 4. Amid the restauration and the revolution 5. Thuringia in the Weimar Republic 6. Thuringia as a protection and defense district 7. Concentration camps, weaponry and forced labor 8. The division of Germany 9. The Peaceful Revolution of 1989 10. The reconstitution of Thuringia 11. Classic Weimar 12. The Bauhaus of Weimar (1919-1925) LZT Werra bridge, near Creuzburg. Built in 1223, it is the oldest natural stone bridge in Thuringia. 1. The landgraviate of Thuringia The Ludovingian dynasty reached its peak in 1040. The Wartburg Castle (built in 1067) was the symbol of the Ludovingian power. In 1131 Luis I. received the title of Landgrave (Earl). With this new political landgraviate groundwork, Thuringia became one of the most influential principalities. It was directly subordinated to the King and therefore had an analogous power to the traditional ducats of Bavaria, Saxony and Swabia. Moreover, the sons of the Landgraves were married to the aristocratic houses of the European elite (in 1221 the marriage between Luis I and Isabel of Hungary was consummated). Landgrave Hermann I. was a beloved patron of art. Under his government (1200-1217) the court of Thuringia was transformed into one of the most important centers for cultural life in Europe. -
Bauhaus Centenary Year May Be Over, but the Influential Art and Design Movement Remains in the International Spotlight
Dear Journalist/Editor The Bauhaus centenary year may be over, but the influential art and design movement remains in the international spotlight. Below is an article that in- cludes comments from eminent publications, pointing out that 2019 was a cat- alyst for a new appreciation of the Bauhaus movement. And that interest con- tinues in 2020. Inspired by exhibitions both in Germany and around the world, more and more visitors are planning vacations in BauhausLand, the German federal states of Saxony-Anhalt and Thuringia. This editorial contribution is, of course, free for use. Bauhaus: Still in the spotlight! BAUHAUSLAND: ATTRACTING NEW FANS In 2019, the worldwide celebrations for the centenary of the Bauhaus focused on the achievements of this influential art and design movement. The range of exhibitions appealed to aficionados, but they also attracted a brand-new audi- ence. Leila Stone wrote in The Architect’s Newspaper: “Bauhaus is architec- ture. Bauhaus is costume design. Bauhaus is textile design. Bauhaus is furni- ture…it has never been more clear that Bauhaus is everywhere.” With appre- ciation increasing, more and more fans are planning to visit BauhausLand www.gobauhaus.com to spend their 2020 vacations in the German federal states of Saxony-Anhalt and Thuringia. BAUHAUSLAND: THE HOT DESTINATION FOR 2020 GQ Magazine trumpeted the headline: “Why travel trendsetters are heading for the birthplace of Bauhaus.” The list of ‘must dos’ includes the striking new Bauhaus Museum in Weimar, where the ‘must sees’ range from Josef Albers’ ground-breaking Nesting Tables to Wilhelm Wagenfeld’s Glass Table Lamp, which is still manufactured today! As for Architectural Digest, it names the brand-new Bauhaus Museum Dessau as one of its “Top 20 Places to Travel in 2020,” adding that “If you decide to go on a Bauhaus-themed pilgrimage, be sure to visit the Meisterhäuser, a group of white cubist homes where Gropius, Kandinsky, and other Bauhaus luminaries lived.” TourComm Germany Olbrichtstr. -
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 -
Curriculum Vitae Germany
Historisches Institut Dr. Alexander Schmidt Akademischer Rat Universität Jena · Einrichtung · 07737 Jena Fürstengraben 13 07743 Jena Curriculum Vitae Germany Telefon: +49 36 41 9-4979 Telefax: +49 36 41 9-310 02 E-Mail: [email protected] ACADEMIC DEGREES Jena, 29. Februar 2020 M.A. (1,0, 2001, Friedrich Schiller University of Jena), Dr.phil. (summa cum laude, 2005, Friedrich Schiller University of Jena) ACADEMIC POSITION Akademischer Rat, Historisches Institut, Friedrich Schiller University of Jena PREVIOUS POSITIONS 07/2009-03/2017 Juniorprofessor of Intellectual History, Research Centre “Laboratory Enlightenment”, Friedrich Schiller University of Jena 10/2004-12/2008 Research fellow at the Collaborative Research Centre 482 “The Weimar-Jena phenomenon: Culture around 1800” (Sonderforschungsbereich 482 “Ereignis Weimar-Jena. Kultur um 1800”), Friedrich Schiller University of Jena 7/2001–1/2002 Research fellow at the Department of History (Early Modern Studies), Friedrich Schiller University of Jena GRANTS, AWARDS, SCHOLARSHIPS 7/2018 (together with Professor Paul Cheney, University of Chicago) Summer Institute for University and College Teachers sponsored by the National Endowment for the Humanities ($ 110,694), Visiting Faculty at University of Chicago 12/2017 Initial grant by the Centre for the Study of the Global Condition (Leipzig) for the “Human rights without religion?” project (5500 €) 7/2015-11/2016 Feodor-Lynen-Fellowship for Experienced Researchers (offered by the Alexander von Humboldt-Foundation) at the John U. -
English Version January – June 7
berli� p�������e january – june ���7 english version editorial dear visitors, the Bauhaus-Archiv is setting things in motion! Our plans for expanding the museum are becoming increasingly concrete: in March of ���8 we will be leaving our existing building for two years, in order to subsequently return to the modernised museum building and the new annex, with its generously proportioned exhibition spaces. We are already beginning with the preparations. The library and archive will thus be closed from � January ���7. Our major retrospective Jasper Morrison. Thingness deals with the work of one of the best-known contemporary designers: when it opens on �� March ���7, we will begin preparing our exhibition objects for the move. The most impor- tant objects and documents related to the Bauhaus and its history will continue to be shown in the special exhibition Bauhaus in Motion, which will start on � March ���7. Join me in looking forward to the coming changes! We wish you a wonderful time at the Bauhaus-Archiv. Annemarie Jaeggi The Bauhaus-Archiv / Museum für Gestaltung Director researches and presents the history and influence of the Bauhaus, which operated from 1919 to 1933 in Weimar, Dessau and Berlin, and was among the 20th century’s most important schools of architecture, design and art. The Bauhaus-Archiv was initiated in 1960 by the art historian Hans Maria Wingler – with the support of the Bauhaus’s founder, Walter Gropius – for the purpose of providing a new home for the material legacy of the Bauhaus, which was scattered around the world in 1933. In 1979, after multiple relocations, the Bauhaus- Archiv was finally able to move into the building in Berlin that Gropius designed for it. -
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. -
Thuringia.Com
www.thats-thuringia.com That’s Thuringia. Ladies and Gentlemen, Thuringia is the region where successful collaboration between entrepreneurs and researchers goes back centuries. Looking to the future has been a long-standing tradition here. Just take Carl Zeiss, Ernst Abbe, and Otto Schott, who joined forces in Jena to lay the foundations for the modern optics industry and for a productive partnership between business and science. It’s a success story that the entrepreneurs and scientists in our Free State are continuing to write to this very day. And in the process, our producers and services providers can draw upon a multifaceted research environment which currently comprises no less than nine universities and universities of applied sciences, a total of 14 institutions run by the Fraunhofer, Leibniz, Max-Planck, and Helmholtz scientific societies, as well as eight research institutions with close ties to the economy. It’s the variety and the optimal mix of locational advantages that makes Thuringia so attractive for investors from all over the world. The central location of our Land at the heart of Germany will soon become even more of an advantage thanks to the new ICE high-speed train junction in Erfurt, which will significantly reduce travelling time to Berlin, Munich, and Frankfurt am Main. International companies seeking to locate to Thuringia can choose from our many top-notch industrial sites, which are situated along major highways and also include large-scale locations for those investors in need of more space. By now, Thuringia has surpassed Baden-Württem- berg as the Federal Land within Germany with the highest number of industrial operations per 100,000 inhabitants. -
Biografie Georg Muche
Georg Muche Biografie 1895 Georg Muche wird am 8. Mai als Sohn eines Beamten in Querfurt geboren. Er verbringt Kindheit und Jugend in der Rhön. 1913 Studium der Malerei an der Azbé-Schule in München, das er nach einem Jahr aufgibt und nach Berlin geht. Lernt Arbeiten von Wassily Kandisky kennen. Im Spätsommer 1913 besuchte ich in München das Atelier, in dem Kandinsky und Jawlensky vor Jahren Malen gelernt hatten. Ich musste dort in der Art von Wilhelm Leibl Köpfe und Akte mit Glanzlichtern auf der Nasenspitze zeichnen und mein Handwerk gründlich erlernen…So jung am Jahren war ich aufgebrochen und kam doch zu spät. Eine Besucherin der Ausstellung („Der blaue Reiter“) muss das Staunen beobachtet haben, mit dem meine Augen auf den Bildern verweilten. Es war Marianne von Werefkin. Sie machte mich aufmerksam auf Jawlensky und Kandinsky, die im Hintergrund miteinander sprachen...Sie hatten die neue Welt entdeckt! Ich erkannte zugleich, dass ich in abstrakten Gefilden nicht suchen durfte, wenn ich Entdeckungen machen wollte. 1915 Zusammenarbeit mit Herwarth Walden im „Sturm“. Ein Jahr später erste Ausstellung in der „Sturm“-Galerie mit Max Ernst, später weitere Ausstellungen mit Alexander Archipenko und Paul Klee. Muche wird wegen seiner außergewöhnlichen Fähigkeiten Lehrer an der „Sturm“- Kunstschule. Theodor Däubler schilderte jene Bilder in seinen Kritiken: „Die geometrisch unbeweglichen Bilder des jungen Georg Muche erinnern an Maschinen im weißglühenden und rotglühenden Zustand…Nicht Vorgänge unter Menschen beschäftigen seine Einbildungskraft, sondern eine Art übersinnlicher Dimension, ein Wissen um Raumbedingtheiten, damit Eruptionen von Leidenschaften in die Welt hereinbrechen können, oder er steigert den Zufall, dass eine Kugel in einem vom Rahmen eingeschlossenen Raum sich öffnet oder verschließt. -
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.