The Bauhaus 1 / 98

GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 98

The Bauhaus

1 The Bauhaus Masters 3

2 The Visiting Artists 67

3 The Unsung Heroes 71

1919–1933 The Bauhaus Masters

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

1895–1946 László Moholy-Nagy

A master in the fields ofphotography , typography, sculpture, painting, printmaking, and industrial design.

• He was highly influenced by constructivism • Strong advocate of the integration of technology and industry into the arts.

László Moholy-Nagy

He coined the term “The New Vision” for his belief that photography could create a whole new way of seeing the outside world that the human eye could not.

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

1900–85 Herbert Bayer Bayer becomes head of the newly added typography and graphic design workshop at age 26.

1926–33 Herbert Bayer • Sans-serif fonts were used almost exclusively • Print contracts added another income stream and gave Bayer a platform for experimentation • Extreme contrasts of type size and weight • Visual hierarchy of emphasis determined by an objective assessment of the relative importance of the words

1926–33 Herbert Bayer • Bars, rules, points, and squares were used to subdivide the space, unify diverse elements, lead the viewer’s eye across a page, and call attention to important elements • Open composition on an implied grid and a system of sizes for type, rules, and pictorial images brought unity to the designs

1926–33 Herbert Bayer • Elementary forms and the use of black with one bright, pure hue • Dynamic composition with strong horizontals and verticals (and, on occasion, diagonals)

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

1920–1922 STUDENT 1925–1933 YOUNG MASTER Hinnerk Scheper Scheper headed the wall painting workshop at the Bauhaus, was involved in developing the Maljarstroi building institute in Moscow and later took over the public agency for the preservation of monuments in Berlin.

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

1920–1927 BAUHAUS MASTER Georg Muche Muche was one of the youngest Bauhaus masters. The Haus am Horn, based on his designs, was in fact the “dream house” he had designed for himself and his young wife El.

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

1919–1925 STUDENT 1925–1932 YOUNG MASTER Joost Schmidt Known to all as “Schmidtchen,” Joost Schmidt came to the Bauhaus as a student and was among the young masters appointed by Gropius in 1925. He stayed until 1932.

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

1920–1924 STUDENT 1925–1928 YOUNG MASTER Marcel Breuer He was the first furniture designer ever to use tubular steel. Breuer quickly grasped how to use this material, combining it with textiles for optimum comfort.

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER

GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER

HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL

1919–1933 The Visiting Artists

1919–1933 The Unsung Heroes

Annie Albers

Took over the weaving workshop in 1931. Brought an innovative approach to textile patterns that anticipated minimalism several decades later. Moved Black Mountain College with husband Josef after the closing of the Bauhaus.

© Kevin Woodland, 2020 (left) Anni Albers, With Verticals (cotton and linen), 1946. (right) Anni Albers works in her weaving studio at Black Mountain College in 1937 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Unsung Heroes 73 / 98

Marianne Brandt • Experimented in lamp design in the metal workshop (1924) • Took over the metal workshop from Moholy-Nagy (1928) • Designed the first lighting fixtures for the Bauhaus Building in Dessau • Left the Bauhaus to become a teach elsewhere and start her own industrial design practice (1929)

The elegant tea infuser MT 49 was made by the Bauhaus student Marianne Brandt in 1924, her first academic year. She attended the metal workshop and was trained by its master, László Moholy-Nagy.

1919–1924 Gertrud Grunow Developed her own music theory exploring the basic relationships between colour, sound, and movement.

1919–1924 Gertrud Grunow Developed her own music theory exploring the basic relationships between color, sound, and movement.

• 1919 — Invited by Johannes Itten to hold a lecture at the Bauhaus and recommended her for a position as an assistant teacher • First female teacher and the only woman teacher during the school’s Weimar years • Theory of Harmony (free course) • Worked on a fee basis as a temporary employee until the summer of 1923 • Later awarded a contract as an associate teacher

Grete Reichardt

Heavily active in the weaving workshop at the Bauhaus. Helped generate income and notoriety for the school by producing innovative fabrics that were installed into German airplanes, among numerous other industrial applications.

Lucia Moholy-Nagy

Came to Weimar with her husband László Moholy-Nagy and together they moved to Dessau. Gropius comissioned Lucia to record life at the Bauhaus with her camera while Moholy taught the Vorkurs classes.

Otti Berger Berger was acting head of Weaving after Gunta Stölzl left. She later opened her own “Textile Studio” but being Jewish she was soon banned from practicing her trade.

To become an artist, one has to be an artist and to become one when one is already an artist, then one comes to the Bauhaus, and the task of the Bauhaus is to make a human being of this ‘artist’ again.

– OTTI BERGER

The Bauhaus﻿ 1 / 98

The Bauhaus 1 / 98