Word: bauhaus
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...influence of the famous German design school, the Bauhaus, on the arts today is as apparent as the ubiquitous Volkswagen is on U.S. streets. Mushroom-topped lamps, svelte coffee pots, paintings of surreal geometries, and clean, functional buildings are associated with the Bauhaus attitude as readily as jimmies are with Boston ice cream cones. In its art work the Bauhaus mixes mysticism with the concrete. In its pedagogy it encourages imaginative thinking yet demands well-defined results. And from this composite house of arts-crafts-architecture, appeared distinct personalities like Paul Klee, Wassily Kandinsky, Walter Gropius, Lazslo Moholy-Nagy...
...Busch-Reisinger Museum (B.R.) has finally pulled out some representative works from its basements filled with Bauhaus archives. Since 1948, at the instigation of Charles Kuhn (B.R. Curator 1932-68) and the presence of Walter Gropius as Chairman of the Department of Architecture, the Museum has been collecting Bauhaus items-from class notes to textiles. The Museum's present curator, John David Farmer, with the help of two design consultants, Peter Kemble and Lynn Yudell, has arranged an attractive yet small package of the Busch Bauhaus...
...from the canvas to billboards, the Constructivists designed posters propagandizing the Bolshevik movement: "Beat the Whites with the Red Wedge" or "Man in the service of technology." Architectural construction, of workers' clubs or radio stations rang with the Constructivist cry, "Art into life!" (Vladimir Tatlin) an antecedent to the Bauhaus declaration, "That design is neither an intellectual nor a material affair, but simply an integral part of life" (Walter Gropius). And growing from these ideas of incorporation of art in life, came "an architecture whose function is clearly recognizable in the relation of its form" (Gropius). Constructivist experiments in typography...
Kandinsky and Moholy-Nagy, the carriers of the Constructivist obsession with space, were the major proponents of Soviet ideas in the Bauhaus. From Russian stage design followed the Bauhausler Oskar Schlemmer, and from Tatlin's chess table and Rodchenko's functional chairs came Mies van der Rohe's Barcelona chair and Breuer's armchairs. Of course many of these developments ran parallel, and which derived from which is more a question of interaction than origination, such as Mies van der Rohe's model for a Monument to the Third International...
...from a peculiarly aseptic meditative center, neither "emotional" nor "intellectual," but simply withdrawn. His reputation as a great teacher seems to rest more on his published theories in the Pedagogical Sketchbook than on the results he got from his pupils. Though he was one of the ornaments of the Bauhaus during his years in Germany, working there did not affect his style, nor did his idiosyncratic style affect the Bauhaus theorists. It was just another monastery...