Bauhaus School

Das Bauhaus Jeremy H fine art German Civilization 2320 Professors Cook, Kopp, and Prager March 6, 2013 The Bauhaus, a ultra school of art and craft founded by Walter Gropius in 1919, concentrates today as an of the essence(predicate) influence on post young art and architecture. It is too the namesake of its own movement which is characterized by severely economic and geometric designs and a track downal view of materials. To truly catch the origins of the Bauhaus and the importance of its modern implications, we must scratch of all know about the influences that its founder relied on. The capital of Austria Secession was formed in Austria in 1897.The secessionist artists attempted to create their own dah that had no clear relation to whatsoever historical eras. Paired with this a vant-garde approach, they relied on more pure geometric designs to arrive at their art. The geometric approach to art be to have lasting effects on Gropius and his contemporaries. The Werkbund was the German model of the Vienna Secession. Founded in 1907, the 12 artists and 12 industrialists who comprised it aimed to infuse manufacture with modern and failal designs. These designs would both nurse efficiency and function and be escaped of traditional elements and ornamentation.A leading artist in the Werkbund named Peter Behrens was Gropius mentor and employer. Along with Belgian painter Henry van de Velde, the devil men were Gropius main influences in forming the Bauhaus. In the Bauhaus manifesto he wrote in 1919, Gropius vows to spend artists to the deep seat of creativity that rests in the handicrafts, and bring together an unbiased syndicate of artists who would dictate architectural bearing to the modern world By the grace of heaven and in r ar moments of inspiration which hap the will, art may unconsciously height from the labour of is hand, however a tooth root in handicrafts is essential to every artist. It is on that point that the authorized sourc e of creativity lies. allow us in that respectfore create a cutting guild of craftsmen without the class-distinctions that raise an arbitrary barrier among craftsmen and artists Let us desire, conceive, and create the new make of the approaching together. It will combine architecture, sculpture, and painting in a single form, and will unmatched day rise towards the heavens from the pass on of a million written reporters as the lucid symbol of a new and sexual climax faith. In the latter half of this passage, Gropius is expressing a Utopian vision that encompasses the general macrocosm building of the future togetherfrom the work force of a million workers. The new ardors would not be just for artists, but their work would be accessible to every genius. The nature of the designs would be streamlined and simple to they could be mass-produced. The art would not scarce be of participation and use to a niche interview but to the majority, so they could appreciate its fu nction and efficiency When the new conservative governing of Weimar withdrew support for the Bauhaus in 1925, it found a new seat in Dessau.Out of the new home in Dessau came the radical changes in style and material of daily items, such as tea infusers, office chairs, and tabularize lamps. Most importantly perhaps, the Bauhaus in Dessau was the home of the first workshop for architecture, the key Gropius outline in his manifesto that would action as the medium for infusing function and creativity into everyday applications. The new architecture would be the first tangible contributions to industry. Prior to this point, Germany had been in the thick of a severe economic crisis brought on by World War I.Now that thither was money to be spent, new innovations in architecture began to become the standard in the modern industrial world. The first obtain the new school had to prove itself, quite an ironically, was by building itself. The school was to be constructed following mo stly Gropius designs, now popular features of Bauhaus architecture flat roofs, lack of ornamentation, and set geometric lines. The first uncoiled conversion in architecture for which the Bauhaus is credited came in the form of the workers housing areas.Architect and Gropius contemporary Ludwig Mies van der Rohe organized an exhibition for architects to design a modern solution for worker housing, with only one rule that each building have a flat roof. regrettably no groundbreaking design was hatched, but the designs helped change the culture of architecture forever. The Bauhaus was already establishing itself as a symbol of advancing art and architecture. Following the architectural and industrial boom in Germany, the Bauhaus relocated to the States in 1933, fleeing Hitler and the Nazis.New director Laszlo Moholy-Nagy founded the New Bauhaus in Chicago. The spirit of innovation that marked the original Bauhaus was just as prevalent here as New Bauhaus students developed breakth roughs in photography, film, and the use of materials. In America, the Bauhaus style is unperturbed influencing the gamut of industrial design, from towering skyscrapers that seem to be built entirely out of glass, to wiggle chairs actually made completely of cardboard. Ultimately, postmodernists and modernists stand starkly opposed when it comes to the necessary attributes and function of designs and art.Postmodern culture was born out of a disregard for modernist minimalism, arguably a style perpetuated if not championed by Bauhaus theory. So one can say modernism is the de facto actor for postmodernisms existence. The practitioners of postmodernism sought to revive theories from introductory centuries that appealed to the human need for comfort for the eubstance and beauty for the eye. The true similarity between the two movements was the importance of function. Both schools of aspect believed art and architecture specifically should serve to promote the buildings function. The true difference lies in aesthetics.So in the analogous way we attribute postmodern styles to advanced art of years past, we can also attribute Bauhaus styles to the past. Gropius vision of a leave to purer geometric forms, a proclivity for structural efficiency, and respect for materials exemplifies this. We see the strong disconnectedness between modern (Bauhaus) and postmodern style as the latter reacting to the former. Making this link lets us argue that modernism and postmodernism are actually two aspects of the same movement, and gum olibanum shows us that the free-thinking, subjective aspects of postmodernism owe their intro to the logical, analytical aspects of its predecessor.Works Referenced Bauhaus Museum. www. bauhausmuseum. com/history/manifesto Bauhaus School. March 4, 2013. http//thebauhaus. org/thebauhaus/ Chicago Bauhaus and Beyond. March 4, 2013. www. chicagobauhausbeyond. org manifest Bauhaus. March 4, 2013. http//bengal. missouri. edu/kuhlerd/art327/i ndex. hypertext mark-up language Roger Cook. Class notes. http//germanciv. missouri. edu/2320/bauhaus/index. html