Das Staatliche Bauhaus

Founding the Bauhaus, 1919-1923

Historically as an art school and as a design movement, the Bauhaus stands as a counterweight to the solipsism and Surrealism in Paris and the anger and turmoil in Berlin.  To a certain extent, the Bauhaus can be linked to New Objectivity in its rejection of Expressionism, but the school set itself apart from the mainstream art world in Germany by redesigning the world for the twentieth century.  The goal of the Bauhaus was to create the kinds of design that would lend itself to mass production and that would be accessible to the masses.  To a certain extent, the Bauhaus also shared the post-war utopianism that clean modern design would have a beneficial impact on society, but the goals were more practical than dreamy.  From the beginning the school was split among factions—art versus craft—and individual creation and corporate ownership—hand work verses factory production.  The school also reflected the tensions in early twentieth century society, controversies over the Jewish members of the faculty and the dis-ease over having so many female students.  Divided at its heart, the Bauhaus nevertheless created the “modern.”

As an art school, the Bauhaus was the continuation of a long-held dream of reforming the bad design and bad taste unleashed by the Industrial Revolution.  Its precedents were the Arts and Crafts and Aesthetic Movements in England and the Art nouveau styles in Europe and America and, more locally, the Deutscher Werkbund, founded in Munich in 1907.  In their desire to return to the integrity of medieval craft, these predecessor movements were flawed in their core, for the products, hand-crafted by artists, were far too expensive and rarified for the ordinary person to afford.  Only the Werkbund, fully engaged in the twentieth century, was positioned to join art and craft and industry. In contrast, the nineteenth century reform movements, for all their good intentions, were expressions of luxury, and the Werkbund established the most immediate precedent for the Bauhaus.

In fact, it was one of the founders of the Werkbund, Henry van der Velde, who was head of the School of Arts and Crafts in Weimar, and it was his post that Walter Gropius took over.  Van der Velde was forced to leave Germany and return to this homeland of Belgium, but, after the war, it seemed clear that his medieval sensibilities had become obsolete.  By the time the Bauhaus was formed by Walter Gropius in 1919 in Weimer it was clear that it was impossible to return to an imagined medieval paradise and that design needed to express the modern industrial world that had come so horribly into fruition during the Great War.  Gropius combined arts and crafts into one school, under one roof, combining all the arts under one roof in the name of architecture: Bauhaus or “house of building.”  Gropius stated,

“Let us collectively desire, conceive and create the new building of the future, which will be everything in one structure: architecture and sculpture and painting, which, from the million hands of craftsmen, will one day rise towards heaven as the crystalline symbol of a new and coming faith.”

Although we tend to think of “the Bauhaus” as an organic unity that created a “look” that is read as “modern,” the school actually went through numerous stages.  Existing during the span of the Weimar Republic, 1919-1933, the Bauhaus lived a precarious existence, and, like the wider German art world, evolved out of Romanticism and Expressionism into the modern era.  Far more than any other movement in the period between the two wars, the Bauhaus was actively engaged in an attempt to redefine “art” and “artist” for the modern period of mass production and mass communication for mass audiences.

The school went through its founding phase from 1919 to 1922, shifting to a more rational and less medieval approach to design, only to be disrupted by the move to Dessau in 1925, where Gropius brought in László Moholy-Nagy, who had a profound impact on the philosophy of the Bauhaus.  Gropius was succeeded by Hannes Meyer in 1928, but he was considered politically unsuitable and was removed in favor of Mies van Der Rohe in 1930.  After that final transition, the Bauhaus went into survival mode and Mies presided over its final demise in Berlin in 1933.

Other Bauhaus posts on this website include: Bauhaus, The Founding, Bauhaus: Modern Design, Bauhaus: Internal Tensions, Bauhaus the End, and Bauhaus: the Fate of the Bauhaus

If you have found this material useful, please give credit to

Dr. Jeanne S. M. Willette and Art History Unstuffed. Thank you.

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If you have found this material useful, please give credit to Dr. Jeanne S. M. Willette and Art History Unstuffed.
Thank you.

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