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Although he was never an official member of the Bauhaus, Albert
Gleizes dedicated his influential essay on Cubism to the art
school. In 1928, Laszlo Moholy-Nagy and Walter Gropius included
this essay as volume 13 of the Bauhausbucher series. In addition to
his own works, Gleizes shows works by Georges Braque, Robert
Delaunay, Fernand Leger and Pablo Picasso as reference examples,
and places the Bauhaus and its series in an international context
that impressively captures the interaction of the numerous art
movements of the time.
Kasimir Malevich's treatise on Suprematism was included in the
Bauhausbucher series in 1927, as was Piet Mondrian's reflections on
Russian Constructivism in 1925 (New Design, Bauhausbucher 5). Like
Mondrian, who was never an official member of the Bauhaus, Malevich
nevertheless had a close connection to the ideas of the school in
terms of content. This volume 11 laid the foundation for the
Russian avant-garde artist's late work: to wrest the mask of life
from the true face of art.
Dutch architect and designer J. J. P. Oud participated in the
Bauhaus Week and the International Architecture Exhibition. His
writing, beginning with a personal confession, is a summary of
theoretical and practical findings in the field of architecture,
specifically using the example of Dutch architecture. He thus looks
to the future and reflects on the potential of architecture without
forgetting to reveal his relationship with the past.
In what he called his "illustrated guide to modern architecture,"
which starts off the Bauhausbucher series, Gropius gives an
overview of the international architecture of the mid-1920s. A
preface by the author explores, briefly but in detail, the guiding
principles that unite the avant-garde in all countries. This
statement is followed by an extensive illustrated section showing
examples of architecture from around the world. According to
Gropius, these illustrations bear witness to the "development of a
consistent worldview" that disposes of the prior role of the
architect and expresses itself in a new language of shapes.
Moholy-Nagy's efforts to have photography and filmmaking recognized
as means of artistic design on the same level as painting are
propounded and explained at length. The use of artistic instruments
is thus radically reformed. The Hungarian artist makes the case for
a functional transformation within the visual arts and for the
further development of photographic design options. Alongside
theoretical and technical approaches as well as detailed forays
into the broad field of the medium of photography, Moholy-Nagy uses
an extensive appendix of illustrations to provide a thorough survey
of the numerous possibilities that photographic and cinematic work
had in store as early as 1925. This English edition appears in
original design and with separate commentary.
The Bauhaus sought to unite life, craftsmanship, and art under one
roof. In this volume, Walter Gropius provides a comprehensive
overview of the Bauhaus workshops. He explains the basic principles
guiding the teaching, describes contemporary developments in
architecture, and illuminates the Bauhaus point of view on
household utensils, which was geared toward finding the most
suitable form for the respective object. Here, Gropius presents the
Bauhaus workshops in Weimar devoted to furniture, metals, textiles,
and ceramics, among other subjects.
Theo van Doesburg was a jack of all trades: painter, writer,
architect, typographer, and art theorist. In this volume of the
Bauhausbucher, he attempts to make elementary concepts in the
visual arts generally comprehensible. He was addressing the "modern
artist" of his day, who had to deal with both shifting social
paradigms and a changing understanding of art and art theory. Van
Doesburg describes theory as a necessary consequence of creative
practice. Artists, he says, "do not write about art but from within
art."
The fourth volume presents the main characteristics of the Bauhaus
concept of the stage. It was essentially shaped by Oskar Schlemmer,
who had taken over the stage department in 1923. Laszlo Moholy-Nagy
took an interest in abstract kinetic and luminary phenomena which
he examines in his essay "Theatre, Circus, Variete." Farkas Molnar
focused for his part on stage architecture, which he discusses in
detail in this volume.
Adolf Meyer was Walter Gropius's right-hand man, his planner and
close confidant. As early as 1910, they jointly created the Fagus
Factory, one of the most important modernist buildings. The
experimental single-family home "Haus am Horn" was built for the
first Bauhaus exhibition, in the summer of 1923 in Weimar. The
house was planned by Georg Muche (design) and the architectural
department at the Bauhaus. Adolf Meyer and Walter March were
responsible for construction management. The book about the project
was compiled in the summer of 1924 and became the third volume of
the Bauhausbucher. Following an essay by Walter Gropius that
supplies information on the "Housing Industry," Georg Muche
presents the design of the model building. Adolf Meyer then
describes its technical execution, giving details on the companies
involved.
Point and Line to Plane can be seen as a continuation of Wassily
Kandinsky's seminal treatise On the Spiritual in Art. Kandinsky's
thesis is that different constellations of point, line and surface
have different emotional effects on the viewer. Starting from the
point (which represents the most concentrated and minimal graphic
form), he understands all painterly forms as being a play of forces
and counterforces: of contrasts.
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