Bauhaus

Bauhaus1919-1933

Bauhaus Insignia, Schlemmer

Bauhaus Poster

School Curriculum

Walter Gropius

Bauhaus, Dessau 1926, Gropius

Bauhaus Office, Gropius

Walter Gropius

Gropius House

Johannes Itten

Paul Klee

Bauhaus Poster

Wassily Kandinsky

Bauhaus Poster (Bayer)

Wassily Kandinsky

Lyonel Feininger

Lyonel Feininger, Print

Lyonel Feininger, Woodcut

Josef Albers

Anni Albers

Laszlo Moholy-Nagy

Oskar Schlemmer

Ludwig Mies van der Rohe

Van der Rohe, Seagrams

Van der Rohe, Glass Skyscraper

Van der Rohe, Barcelona Pavilion

Van der Rohe, 1926

Van der Rohe, Berlin

Van der Rohe, Chair

Marcel Breuer

Breuer Chair

Breuer, Chaise Lounge

Breuers Wassilly Chair

Breuer, Dining Table

Breuer, Cupboard

BreuerWhitney Museum, New York City

Herbert Bayer

Bauhaus Poster-Bayer

Bayer - Structure in Green

Bayer - Leaning Gate

Bayer - Concentric Circles

Bayer - Auctioneers

Bayer Sculpture

Bayer - Ascension

Bayer Sculpture

Georg Muche

Georg MucheExperimental single family housing and steel house.

Georg Muche

Herbert Meyer

Bauhaus Teapot

Bauhaus Tea Set

Bauhaus Teapot, Liquor

Bauhaus Fabric

Bauhaus Cradle

Bauhaus Furniture

Bauhaus Font, Bayer

Bauhaus Font

Bauhaus Group PhotoJosef Albers, Hinnerk Scheper, Georg Muche, Lszio Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stolzl and Oskar Schlemmer.

Bauhaus Weaving

Albers Teaching Bauhaus, Dessau

Josef and Anni Albers

Bauhaus Influences

Sonia Delaunay-Terk

Sonia Delaunay-Terk, Scupture, Robert Delaunay

Sonia Delaunay-Terk, Theater

Sonia & Robert Delaunay

Sonia Delaunay-Terk

Sonia Delaunay-TerkBugatti

Jawlensky

George Grosz

Hitler, Confiscated Art

Hitler, Speer, 1943

Weimar 1919-1925Dessau 1925-1933The first aim of the school was to "rescue all of the arts from the isolation in which each then found itself."Josef Albers was fascinated by the ambiguities of visual and spatial perception. This preoccupation is central to his famous "Homage to the Square" series begun in the 1950s and continuing until his death. In this series, color assumes the main role of producing deceptive and unpredictable effects, causing multiple readings of the same hue depending on what colors surround it. Albers did not mix colors, putting the colors on the painting right out of the tube. He forced his viewers into a changing and dynamic relationship with his work, rather than accepting one visual truth.

Albers: "Homage to the Square" "...I see color as motionto put two color together side by side really excites me. They breathe together. It's like a pulse beat I like to take a very weak color and make it rich and beautiful or work on its neighbors. I can kill the most brilliant red by putting it with violet. I can make the dullest gray in the world dance by setting it against black Josef Albers, 1973

Albers teaching at the Bauhaus, Dessau, 1928 photograph Umbo

Georg Muche and members of the weaving workshop at the Bauhaus, Weimar, ca. 1923. Anni Albers is at the extreme right.Albers teaching at the Bauhaus, Dessau, 1928 photograph Umbo

Josef and Anni Albers arrive in New York, 1933

Bauhaus

Documents

printlyonel feininger

bauhaus insignia

gropiusbauhaus office

steel house

hinnerk scheper

cupboardbreuerwhitney

dining tablebreuer

joost schmidt