Context Began April 12th 1919 in Weimar Germany Ended in 1933 in Berlin because of pressure from the Nazi regime Before Bauhaus Russian Constructivism the Dutch DeStijl movement
After Bauhaus Modernism International Style
Key Concepts “Just as in the workshops of the Bauhaus the smallest utility object is given the simplest geometrical shape, so are these, the biggest of them all”. (referring to Bauhaus building) “the uniformity of all objects made by man regardless of size...distinguished from nature”. cleanliness, clarity, utility, honesty even the colors were used for a purpose to subdivide and and provide orientation
Walter Gropius Founder of the Bauhaus
studied architecture at the technical institutes in Munich acknowledged that his architectural work and the design problems he undertook for a German electricity company did much to shape his lifelong interest in progressive architecture and the interrelationship of the arts argued for such building techniques as prefabrication of parts and assembly on the site combined two schools, the Weimar Academy of Arts and the Weimar School of Arts and Crafts, into what he called the Bauhaus, or “house of building,” A key tenet of Gropius’ Bauhaus teaching was the requirement that the architect and designer undergo a practical crafts training to acquaint himself with materials and processes
Johannes Itten
Josef Albers
From 1908 to 1920 Albers studied painting and printmaking in Berlin, Essen, and Munich and taught elementary school In 1920 he enrolled at the newly formed Bauhaus His most important creations of that period included compositions made of coloured glass, as well as examples of furniture design, metalwork, and typography After 1925, when he became a “master� at the Bauhaus, Albers explored a style of painting characterized by the reiteration of abstract rectilinear patterns and the use of primary colours along with white and black
László Moholy-Nagy
Hungarian-born American painter, sculptor, photographer, designer, theorist, and art teacher, whose vision of a nonrepresentational art consisting of pure visual fundamentals—colour, texture, light, and equilibrium of forms—was immensely influential in both the fine and applied arts in the mid-20th century. He is also known for his original approach to art education. from 1923 to 1929 he headed the metal workshop He created a widely accepted curriculum that focused on developing studentsʼ natural visual gifts instead of teaching them specialized skills. His dictum was: “Everybody is talented.”
Paul Klee
stained-glass and painting
Wassily Kandinsky
wall painting
Marcel Breuer
interiors
Lyonel Feininger
graphic arts
Herbert Bayer
typography and advertising
Typography Visual communication Sans serif type and over size numerals Simplistic and pure form Strong geometric style Had upper and lower case but rarely both together Horizontal and vertical orientation Emphasize info, organize info, decorate
Typography Moholy –Nagy “clarity of the message in its most emphatic form” He combined text and photography which was called typofoto
Herbert Bayer Created “universal” for the Bauhaus communications Geometric sans serif font Simplicity
Technology Printing process It reproduces the reversal which takes place in printing Functional requirements suitable for mass production
Works Cited WEB http://designhistory.org/Avant_Garde_pages/BauhausType.html http://designhistory.org/Bauhaus_pages/GDBauhaus.html http://www.designishistory.com/1920/the-bauhaus/ BOOKS Hollis, Rochard. Graphic Design A concise History. London: Thames and Hudson Ltd. 1994 and 2001. Book Remington. Roger R. American Modernism Graphic Design 1920 to 1960. London: Laurence King Publishing. 2003. Book
Presented by: Lexie, Lillian, and Lisa