The historical shift from Expressionism towards De Stijl transfigured the ways in which designers will design for years to come. This universal change in design principles can be identified in the relationship between Walter Gropius with his creation of the Bauhaus, and with its introduction of De Stijl qualities via Theo van Doesburg. Both Expressionist artis... ... middle of paper ... ...chool at Weimar in 1919 to the move in 1926 at Dessau, the school continually refined its course developments but maintained Walter Gropius’ idea to encourage innovation in design through educating students in all fine art disciplines. This idea always had potential, but gained even more attention with the incorporation of De Stijl. The impact that the De Stijl movement had on Walter Gropius is apparent in his design of the Bauhaus at Dessau, which visually displays the transition from his Expressionistic ways to more De Stijl characteristics.
According to the art story website, the Bauhaus of Design was shaped by the 19th and early 20th centuries trends such as Arts and Crafts movement, which had sought to level the distinction between fine and applied arts, and to reunite creativity and manufacturing. Which later on has had affected some major artwork such as architecture and graphic design and as a result, had also inspire the romantic medievalism of the school 's early years, in which it pictured itself as a kind of medieval crafts guild. But in the mid-1920s the medievalism gave way to a stress on uniting art and industrial design, and it was this which ultimately proved to be its most original and important achievement (Art Story). The school is also known for its faculty, which included some of the most talented artists such as : Wassily
Gropius wanted to end the division between industry and art by training students equally in both crafts and fine arts. In 1919, the Weimar Academy of Arts and the Weimar School of Arts and Crafts merged together into what is known as the Bauhaus, or “house of construction.” Walter Gropius was appointed director and described the school as “a utopian craft guild combining architecture, sculpture, and painting into a single creative expression” in his Proclamation of the Bauhaus. Gropius soon developed a curriculum in which he combin... ... middle of paper ... ... that unity to mass produce products and beautiful art has earned it the right to be known as the House of Construction. Works Cited Bayer, Herbert, Walter Gropius, and Ise Gropius. Bauhaus, 1919-1928.
The Bauhaus was a school in Weimer, Germany. It was founded in 1919 by a German architect named Walter Gropius. The goal behind the Bauhaus was to bring the arts together into a new age of modern art or, as Gropius described, “Architects, sculptors, painters, we must all get back to craft” (Borteh). Gropius expressed this idea in the Proclamation of the Bauhaus, a document by Gropius that stated the Bauhaus was a “utopian craft guild” that combined architecture, sculpture, and painting (Wilson). This idea attracted many highly experienced staff members.
While serving as an officer in the Great War, he dreamed of creating an art and design school that would help change the world. After the war, Gropius began to work on his dream and was asked to find an art school and to write his ideas in a manifesto published in 1919, the Proclamation of the Bauhaus (Whiteford, 1993). The revolutionary tone of the Proclamation of the Bauhaus inspired the soviet revolution and the German mutinies, which helped end the war. The Bauhaus, which translates to the “Building House” in English, was a revolutionary institute of architecture and design that fashioned the face of the 20th century. Its key objective was to re... ... middle of paper ... ...d down what they saw as communist ideas (Forgacs, 1995).
An architect named Walter Gropius founded the Bauhaus in 1919 in Weimar, Germany. Gropius’ main objective of the school was to use each student’s creativity to change industrial and architectural ideas by integrating, into them, visual art. The Bauhaus sought to change the ideas of the industrial society that began in the beginning of the century. In the early Bauhaus, painters like Paul Klee and Wassily Kandinsky joined the school to teach advanced ideas of form, color and space. Klee’s work used subject matter that translated into graphical signs and symbols that invoked strong visual communications.
Nearly every aspect of life was redefined in the mid nineteenth century during the industrial revolution. Fundamental changes occurred in agriculture, textile and metal manufacture, transportation, economic policies and the social structure. Yet somehow architecture did not catch the bug, buildings still reflected the past with their stately capitals, columns, and other unnecessary fluff. This matter puzzled the young artist Le Corbusier; he believed that “we should make a machine for living”, and our buildings should reflect this newfound consciousness that has been adopted in the rest of our society. These ideas were the catalyst of an architectural revolution.
3. The Bauhaus had a major influence on modern art, design and architecture. Drawing from writings by and about the Bauhaus, and with reference to two or three visual examples, critically assess this influence and the ongoing relevance (or not) of the Bauhaus today. Established in 1919 by the designer and architect Walter Gropius, the Bauhaus radically changed the history of art, design and architecture, shifting away from the old gothic style to a more simplistic approach of design which we know as modernism today. The Bauhaus, which directly translates to school of learning, employed the most recognized avant-garde artist of the time; these include well-known names such as Johannes Itten and maholy-Nagy.
Based in the city of Weimar, the Bauhaus was one of the most influential schools of design in the 20th century . Its main aim was to reconsider and redefine the fundamentals of architecture, urban planning, design, and other aspects in order to highlight the unity of all kinds of arts (Gesamtkunstwerk) . As a result, in its brief period of existence, the Bauhaus managed to bring together the remarkable modernists to break the existing traditions and give rise to the new aesthetics that became iconic. In that way, Walter Gropius founded a school of design in 1919 and elaborated a craft-based training program that was intended to foster a new generation of exceptional designers and artists capable of upholding the philosophy of the Bauhaus’ system of living . The curriculum incorporated studying of
(Goethe Institute, p. 52) Moholy-Nagy was a prominent member of the Bauhaus faculty, replacing Johannes Itten as instructor of the schools preliminary course in 1924. Walter Gropius, the schools director, wanted a shift from the Bauhaus' current expressionistic style to more of its original aim at industrial engineering. The Bauhaus was very influential on most modern art and architecture and still is today. When Moholy-Nagy began teaching at the Bauhaus, it marked the end of its expressionistic era, and concentrated on architecture and industrial integration. Due largely to the industrial revolution, materials like cast iron and plastics were become easier to work with and faster to assemble.