Bauhaus Online | Magazin http://bauhaus-online.de/en/magazin en-US Bauhaus Face: Moses Bahelfer http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-moses-bahelfer <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Moses Bahelfer (Bagelferyches, Bagel)</p><p>Moshe Bagelferyches was born on 29 June 1908 in Wilno, Poland, then occupied by the Russian Empire and now Vilnius, the capital of Lithuania. After an apprenticeship as a painter and decorator in the vocational school, he studied graphic design for a term at the School of Arts and Crafts in Wilna. Bagelferyches became a member of a group of young artists, authors and Yiddish speaking poets known as “Jung-Wilna” and contributed to their joint exhibitions.</p><p>In the winter term of <a href="/atlas/jahre/1928" title="1928">1928</a> he enrolled as student no. 305 at the Bauhaus Dessau; he was known from then on as Moses Bahelfer. After the preliminary course he completed an apprenticeship in the advertising and printing workshop and <a href="/atlas/personen/joost-schmidt" title="Joost Schmidt">Joost Schmidt</a>’s sculpture workshop. From <a href="/atlas/jahre/1929" title="1929">1929</a> he also attended <a href="/atlas/personen/paul-klee" title="Paul Klee">Paul Klee </a>and <a href="/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a>’s free painting classes. Throughout his apprenticeship he received half and full tuition fee exemptions worth between 45 and 75 Reichsmark. During his time at the Bauhaus he lived in lodgings in Dessau with his fellow student Isaak Butkow, who also came from Wilno; due to their lack of means, their hosts provided meals for both of them. Moses Bahelfer married Gitel Golde, who in summer <a href="/atlas/jahre/1930" title="1930">1930</a> had likewise enrolled at the Bauhaus. In January <a href="/atlas/jahre/1932" title="1932">1932</a> his work was exhibited at the Bauhaus. On 11 February 1932, having been awarded the Bauhaus Diploma No. 64 with distinction, Bahelfer left the Bauhaus and moved shortly thereafter to Paris with Gitel Golde.</p><p>In Paris, he was known as Moses Bagel and worked as a graphic designer and illustrator for the French literary journal NRF (Nouvelle Revue Française) and illustrated children’s books. He also produced photo reportages for L’Agence VU. In 1939 Bagel volunteered for the French Foreign Legion. He spent the period of German occupation in Toulouse. He worked for an architect and joined a French resistance group, for whom he falsified identity documents. After the liberation of France he returned to Paris, illustrated books and worked for various Jewish newspapers. He designed stage sets and costumes for the Yiddish theatre in Paris. From 1947 to 1968 he was head of the advertising studio of 20th Century Fox Paris. He subsequently taught drawing classes at the École des Beaux-Arts in Paris from 1972 to 1973.</p><p>In 1959, to mark the 100th birthday of the Jewish humorist and satirist Shalom Aleichem, UNESCO commissioned Moses Bagel to produce a series of 15 large-scale works based on the oeuvre of the great Yiddish-speaking author. Following the exhibition in the UNESCO headquarters, Bagel donated the works to the Shalom Aleichem Foundation in Tel Aviv. Works by Bagel were exhibited in the travelling exhibition “50 Jahre Bauhaus” held in 1968 by the Württembergischer Kunstverein Stuttgart, which subsequently moved on toLondon, Paris, Amsterdam, Chicago, Ontario, Toronto, Pasadena, Buenos Aires and Tokyo.</p><p>Moses Bagel died in 1995 in Paris.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-moses-bahelfer" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/gm_064008b1v1_2.jpg" alt="" title="Moses Bahelfer, Self portrait with mirror and flash unit, ca. 1929, 16 x 12.8 cm, Gelatin silver print The J. Paul Getty Museum, Los Angeles" class="imagecache imagecache-article_full" width="347" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-moses-bahelfer"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p><strong>References</strong></p><p>Nadine Nieszawer &amp; Deborah Princ, “Artistes juifs de l’école de Paris 1905-1939” <a href="http://www.ecoledeparis.org/artists/view/moses_bagel">www.ecoledeparis.org/artists/view/moses_bagel</a>; Archive Collection Bauhaus Dessau Foundation; Ute Brüning (ed.), “Das A und O des Bauhauses”, Bauhaus-Archiv Berlin, 1995; Peter Hahn (ed.), Christian Wolsdorff, “Bauhaus Berlin”, Bauhaus-Archiv Berlin, 1985; Tapetenfabrik Gebr. Rasch und Stiftung Bauhaus Dessau (pub.), “bauhaustapete. Reklame &amp; Erfolg einer Marke”, Werner Möller, Sabine Thümmler, Burckhard Kieselbach (eds.), DuMont, Cologne 1995.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-moses-bahelfer#comments Bauhaus Faces Design Painting Photography Sun, 16 Aug 2015 20:03:32 +0000 Burckhard Kieselbach 8982 at http://bauhaus-online.de Sommerakademie at Zentrum Paul Klee in Berne from 12 to 22 August 2015 http://bauhaus-online.de/en/magazin/nachricht/sommerakademie-at-zentrum-paul-klee-in-berne-from-12-to-22-a <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>Every year in August, the Sommerakademie invites emerging artists and curators to Berne to work with renowned figures from the international art scene, creating and holding a ten-day seminar that is focused around a specific topic. The Foundation The Sommerakademie is an international platform for contemporary art that focuses on exploring the present and reflection on art. Using professional training, promotion, sponsorship and mediation, the Sommerakademie aims to promote both artistic productivity and reflection on art among artists, and at the same time allows the public to be part of this process. For further information, please visit the website of <a href="http://www.zpk.org/en/art-mediation/sommerakademie-60.html">Zentrum Paul Klee in Berne (ZPK)</a>.</p> </div> </div> </div> Education Events Exhibition Thu, 13 Aug 2015 08:54:45 +0000 Redaktion bauhaus-online.de 8979 at http://bauhaus-online.de Rediscovering the work of Bauhaus Weimar artist Max Nehrling http://bauhaus-online.de/en/magazin/artikel/rediscovering-the-work-of-bauhaus-weimar-artist-max-nehrling <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The artist <a href="/en/atlas/personen/max-nehrling" title="Max Nehrling">Max Nehrling</a> (Posen 1887 – 1957 Weimar) appeared to have been forgotten even in Weimar, the city in which he lived and worked for decades. There was little to point the way to the Staatliche Kunstsammlungen zu Weimar (Weimar Art Collections, now part of the Klassik Stiftung Weimar), which owns an ornamental study by Nehrling dating from his student days at the Großherzoglich Sächsischen Kunstgewerbeschule (Grand Ducal School of Arts and Crafts) directed by Henry van de Velde. This, along with a collection of student works, was donated to the Großherzogliches Museum für Kunst und Kunstgewerbe (Grand Ducal Museum of Arts and Crafts) in 1915. Three further pieces owned by the museum suggest that Nehrling was a conservative artist in the tradition of the Weimar School of Painting: The watercolour “Tallandschaft im Frühling” (1925) and the paintings “Hohe Rhön” (1939) and “Ilmtal bei Taubach” (1955). For this reason, even after the publication of “Die Studierenden am Bauhaus” (1990) and “Die Meisterratsprotokolle des Staatlichen Bauhauses Weimar 1919-1925” (2001), no research into Nehrling was undertaken.</p><p>But it was no coincidence that the artist’s son, musicologist Dr. Hans Nehrling, approached the custodian of the Bauhaus Museum in Weimar in the street in 2003 and invited him to his home to see his father’s artistic estate. Thousands of paintings, drawings, printed graphics, documents, original photographs and works by artist friends, along with a kitchen by the Bauhaus master of works Josef Zachmann, were squeezed into the two-room rental flat. It soon became evident that Max Nehrling’s collection presented a unique record of art education in Weimar from 1900 to 1926: Work from lessons at the Fürstliche freie Zeichenschule Weimar (free drawing school), from an apprenticeship in lithography, from the school of arts and crafts and school of art in Weimar, the Staatliche Bauhaus and the Staatliche Hochschule für bildende Kunst (Weimar Institute of Fine Arts). However, it was soon clear that the Weimar Art Collections could not acquire the whole estate. The negotiations that followed, with the Stadtmuseum Weimar among others, continued for a full decade.</p><p>Only after Hans Nehrling’s death was the heiress Maximiliane Itta able to fulfil his legacy. In 2013 she donated two partial collections to the Klassik Stiftung Weimar with its Bauhaus Museum and the Stadtmuseum Weimar and placed numerous other works on the art market in the hands of Galerie Hebecker in Weimar. The donation to the <a href="/en/klassik-stiftung-weimar" title="Weimar Classics Foundation">Klassik Stiftung Weimar</a> (Weimar Classics Foundation) comprises 330 exhibits. For the first time, a representative selection of these will be on show from 14 August to 1 November 2015 in the <a href="/en/atlas/ort/haus-am-horn_1403" title="Haus am Horn">Haus Am Horn</a>. This unique prototype and experimental building by the Bauhaus in Weimar (UNESCO World Cultural Heritage), which is managed by the Circle of Friends of the Bauhaus-Universität Weimar, provides an ideal architectural setting for the exhibition.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/rediscovering-the-work-of-bauhaus-weimar-artist-max-nehrling" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/600055__grafik126.jpg" alt="" title="Max Nehrling, Hat for a Bauhaus party, ca. 1920 Coloured paper collage, ink brush drawing on card Weimar Classics Foundation" class="imagecache imagecache-article_full" width="435" height="285" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/rediscovering-the-work-of-bauhaus-weimar-artist-max-nehrling"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>One of the exhibition highlights is the sole surviving hat from a Bauhaus party in Weimar, a simple “Chinese hat” dating from around <a href="/en/atlas/jahre/1920" title="1920">1920</a>, made from card and combining pieces of coloured paper affixed with glue and abstract-organic ink brush drawings. Pages from the <a href="/en/atlas/das-bauhaus/lehre/vorkurs-johannes-itten" title="Preliminary Course by Johannes Itten">preliminary course</a> and life drawing lessons under the tutelage of <a href="/en/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a> document Nehrling’s endeavours to integrate modern anti-academic elements in his work. Nehrling was however also influenced by <a href="/en/atlas/personen/lyonel-feininger" title="Lyonel Feininger">Lyonel Feininger</a>’s annotated sketches from nature, which were exhibited in the <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus</a> in September <a href="/en/atlas/jahre/1919" title="1919">1919</a>. From 1920 Nehrling produced numerous charcoal drawings of landscapes in the Rhoen region, specifically of the Föhlritz near Dermbach area, where Nehrling revived his pre-war days in his artists’ colony with fellow students. The portrait of his friend Rudolf Riege, an oil painting from 1919, shows the influence of a shift towards Neue Sachlichkeit (New Objectivity) in the early Bauhaus.</p><p>Endowments often also convey cultural history: Documents such as the elaborate diploma issued in 1919 by the Großherzoglich Sächsischen Kunstgewerbeschule, the less formal official document from the Reich Chamber of Culture of 1942, which lists Nehrling only as a number due to a paucity of art production, and a letter from the association of visual artists (VBK), which congratulates Nehrling on the pension awarded to him by the GDR government for his artistic lifework.</p><p>Endowments frequently provide insights into personal networks and friendships with other artists. Nehrling’s teacher Otto Dorfner is represented by hand bound books, Walther Klemm, <a href="/en/atlas/personen/gerhard-marcks" title="Gerhard Marcks">Gerhard Marcks </a>and fellow students Walter Determann, Erich Glas, Rudolf Riege and <a href="/en/atlas/personen/karl-peter-roehl" title="Karl Peter Röhl">Karl Peter Röhl</a> by printed graphics. The collection also includes work by esteemed artists, for example a sculpture by Wilhelm Lehmbruck (1914), a large gouache by Christian Rohlfs (1918) and printed graphics by Beckmann and Heckel. Finally, a reference library and favourite books distinguished by handmade bindings reveal the artist’s spiritual universe: Cranach, Turner and classical modernism.</p><p>As in Max Nehrling’s case, the descendants of an artist are often responsible for discovering their ancestor’s lifework. Thanks to their interest, efforts and not least their generosity, museums and archives benefit from donations of work by little known or forgotten artists. Acquisitions and loans, but donations above all, add to the number and the diversity of collections. Had Max Nehrling’s son not spoken to the custodian of the Bauhaus Museum in Weimar and taken him to see his father’s wonderful work, the public would never have had a chance to see the former Bauhaus student’s paintings. These works are featured in the 100-page exhibition catalogue, which includes 90 colour plates(€ 9,90, ISBN 3744301877).</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/rediscovering-the-work-of-bauhaus-weimar-artist-max-nehrling#comments Bauhaus Faces Exhibition Research Weimar Mon, 10 Aug 2015 20:34:06 +0000 Michael Siebenbrodt 8971 at http://bauhaus-online.de Bauhaus Face: Max Nehrling http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-max-nehrling <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Max Nehrling was born on 11 May 1887 in Posen (Poznan). In 1899, at just twelve years of age, he began his career as an artist at the Fürstliche freie Zeichenschule (free drawing school) in Weimar. From 1902 to 1906 he entered into an apprenticeship as a lithographer with the company Reineck &amp; Klein. From 1908 to 1909 he worked as a lithographer with Carl Rembold in Heilbronn, and in 1910 he was employed as a draughtsman by the company O. de Rycker &amp; Mendel in Forest-lez-Bruxelles (Brussels). In 1911 Nehrling enrolled to study at the Großherzoglich-Sächsische Kunstgewerbeschule Weimar (school of arts and crafts). Here, he attended classes in colour with Dorothea Seeligmüller, in ornamentation with Henry van de Velde, and other classes taught by Dora Wibiral. In the same year, the young lithographer transferred to the Großherzoglich-Sächsische Kunsthochschule Weimar (school of art). Here, he studied under Gari Melchers, Fritz Mackensen, Walther Klemm and Otto Rasch until 1914. In 1913/1914 Nehrling, Gottlieb Krippendorf and Rudolf Riege established an artists’ colony known as “Künstlerkolonie Föhlritz”, near Dermbach in the Rhoen region. During World War I, Nehrling served as a soldier in France.</p><p>When the <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Staatliche Bauhaus</a> was set up in Weimar in <a href="/en/atlas/jahre/1919" title="1919">1919</a>, Nehrling enrolled to study there. On the <a href="/en/atlas/das-bauhaus/lehre/vorkurs-johannes-itten" title="Preliminary Course by Johannes Itten">preliminary course</a> and in life drawing classes, he was taught by <a href="/en/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a>. He also attended the <a href="/en/atlas/das-bauhaus/werkstaetten/grafische-druckerei" title="Graphic Printing Workshop">workshop for printed graphics</a> under the tutelage of Walther Klemm. Nehrling studied at the Bauhaus until <a href="/en/atlas/jahre/1921" title="1921">1921</a>, when he transferred to the recently established Staatliche Hochschule für bildende Kunst Weimar (Weimar Institute of Fine Arts), where Walther Klemm had been appointed to teach. Here, Nehrling mainly studied under Klemm and had his own studio. After completing his studies in <a href="/en/atlas/jahre/1926" title="1926">1926</a>, Nehrling worked as a freelance artist in Weimar. Nehrling’s artists’ colony was revived as early as 1920 and, with Nehrling’s involvement, lasted until 1957.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-max-nehrling" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/p1330244_otograf_unbekannt_um_1911_klassik_stiftung_weimar.jpg" alt="" title="Unknwon photographer, Portrait of Max Nehrling, ca. 1911 Klassik Stiftung Weimar (Weimar Classics Foundation)" class="imagecache imagecache-article_full" width="300" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-max-nehrling"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Nehrling withdrew from the formal production of art in the late-1930s. In 1942 he was listed only as a member of the Reich Chamber of Fine Arts, since his work was “limited, not practiced as a main profession”. But in 1945, towards the end of World War II, Nehrling resumed his artistic career. In 1953 he was employed by the district council of Erfurt to deal with student applications and work contracts. In 1956 he took a study trip to the Netherlands. In the same year at the age of 69, on the initiative of the central administration of the Verband Bildende Künstler (VBK), Nehrling was awarded a pension by the government of the GDR for his lifework as an artist.</p><p>Max Nehrling died in Weimar on 18 September 1957.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-max-nehrling#comments Bauhaus Faces Painting Weimar Mon, 10 Aug 2015 12:28:39 +0000 Anja Guttenberger 8968 at http://bauhaus-online.de New Furniture for the Bauhaus Masters' Houses http://bauhaus-online.de/en/magazin/artikel/new-furniture-for-the-bauhaus-masters-houses <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>In the 1920s the Masters' Houses in Dessau – with their furniture from the Bauhaus workshops – were showcases of modern home decor. Today, they are historic architectural monuments. This is about to change. Bauhaus Dessau Foundation plans a residence programme for artists in the Masters' Houses for next year. For this purpose, though, they have to be habitable.</p><p>"We want to use the Masters' Houses in their original sense, namely as living and working place for creative minds. The conscious design of the interior is closely linked to this. It is a great challenge for this year's designers in residence of the IKEA Bauhaussommer (Bauhaus summer)," says the director of <a href="/en/stiftung-bauhaus-dessau" title="Stiftung Bauhaus Dessau">Bauhaus Dessau Foundation</a>, Claudia Perren. </p> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/new-furniture-for-the-bauhaus-masters-houses"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>The international participants still work until 31st October 2015 in teams of two. On 4 September they will present their works at the Bauhaus; the final presentation will take place on 29 October. The IKEA Bauhaussommer also includes a summer workshop of ten days for students from all over the world. 26 participants have been elected from 150 applications; they can work from 10 until 21 August at the Bauhaus and show their work in public on the last day of the workshop.</p><p>The aim of the cooperation between Bauhaus Dessau Foundation and IKEA Foundation is to introduce young persons to creativity. They plan to extend the collaboration in the next years and to include adolescents.</p><p>For further information and the whole programme of the IKEA Bauhaussommer, please visit <a href="http://www.bauhaus-dessau.de/english/home.html">Bauhaus Dessau Foundation</a>.</p><p></p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/new-furniture-for-the-bauhaus-masters-houses#comments Architecture Dessau Event Thu, 06 Aug 2015 08:52:24 +0000 Anja Guttenberger 8965 at http://bauhaus-online.de Symposium Householding: The World. One Household. http://bauhaus-online.de/en/magazin/nachricht/symposium-householding-the-world-one-household <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>At the end of the exhibition "Haushaltsmesse 2015" (Householding fair 2015), Bauhaus Dessau Foundation invites internationally renown scientists as well as journalists and architects to discuss global perspectives of the "domestic affairs" in a public debate at this weekend (7 to 9 August 2015). The exhibition in the Dessau <a href="/en/atlas/werke/masters%E2%80%99-houses" title="Masters’ Houses">Masters' Houses</a> shows artistic, historic, and academic positions towards householding as part of our way to live. All events have free admission and are directed to an audience that would like to rethink and discuss global contexts of our way to live with focus on nutrition, ressources, and economy. Please, visit the website of <a href="http://www.bauhaus-dessau.de/haushaltsmesse-20155.html">Bauhaus Dessau Foundation</a> for the complete programme and further information on the symposium.</p> </div> </div> </div> Dessau Event Exhibition Research Wed, 05 Aug 2015 13:05:36 +0000 Redaktion bauhaus-online.de 8963 at http://bauhaus-online.de Bauhaus Face: Friedl Dicker (-Brandeis) http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-friedl-dicker-brandeis <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Friedl Dicker was born on 30 July 1898 in Vienna. Aged just four her mother, Karolina Fanta, died and from then on she was brought up alone by her father, Simon Dicker. Friedl Dicker spent most of her time in her father’sstationery shop; there, she found all she needed to give free reign to her imagination, to make things from clay and paper, to draw and colour.</p><p>When WWI broke out, Friedl Dicker successfully convinced her father to enrol her at the Austrian Federal Education and Research Institute for Graphics (Höhere Graphische Bundes-, Lehr- und Versuchsanstalt) in Vienna, where she studied under the master photographer Johannes Beckmann. After completing her studies there, Dicker went on to the Vienna School of Arts and Crafts (Kunstgewerbeschule Wien). She earned money on the side at the theatre, where she organised props, made costumes, performed on stage and wrote plays. In 1915 Dicker began to study in the textile department of the school and at the same time attended classes taught by Franz Cinek.</p><p>In 1916 <a href="/en/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a>, who was to subsequently become a Bauhaus master, opened his own school of art in Vienna. Friedl Dicker studied here until <a href="/en/atlas/jahre/1919" title="1919">1919</a> along with Anny Wottitz, a friend that she had met in Vienna in 1917, with whom she worked on commissions for bookbindings. In 1918 in Itten’s school, Dicker made friends with Franz Singer, who was studying architecture at the time. When Johannes Itten closed his school in 1919 and moved to the <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus Weimar</a> as a master, Dicker, Wottitz, Singer and several of his other “disciples” went with him.</p><p>At the Bauhaus, Dicker found like-minded people who shared her curiosity and her interest in the functions of objects. To support themselves, she and her friends Anny Wottitz and Margit Terry-Adler produced bookbindings in Otto Dorfner’s private workshop. Dicker made marionettes for a state fair in Weimar, which drew and bewitched crowds of children, but could not be sold. The state fair also resulted in a rapidly rising demand for textiles from the Bauhaus; Walter <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Gropius</a> ordered the delivery of machines and materials and professional production could now begin under the supervision of <a href="/atlas/personen/georg-muche" title="Georg Muche">Georg Muche</a>, with the involvement of Friedl Dicker. At the same time, she studied the lithographic process in <a href="/en/atlas/personen/lyonel-feininger" title="Lyonel Feininger">Lyonel Feininger</a>’s workshop. When Dicker’s favourite painter <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a> arrived at the Bauhaus in <a href="/en/atlas/jahre/1921" title="1921">1921</a>, she attended his lectures on the nature of art and the childlike imagination almost every day, or observed him at work. Her familiarity with Klee and his work opened the young student’s mind to the motifs and educational concepts of the world of children. Fascinated by Schlemmer’s figurines, Dicker drew the ones she most liked and her desire to progress to the theatre grew.</p><p>In 1921 Dicker and Franz Singer (her long-term partner) became part of <a href="/en/atlas/personen/lothar-schreyer" title="Lothar Schreyer">Lothar Schreyer</a>’s Bauhaus theatre troupe. The same year, she was invited by director Berthold Viertel to collaborate first on the play “Erwachen”<a href="#sdendnote1sym">1</a> and later on “Die Haidebraut”<a href="#sdendnote2sym">2</a>. Dicker completed sketches for the plays in Oskar Schlemmer’s workshop. Also in 1921, Franz Singer married the singer Emmy Heim, with whom he had a son. However, he remained in a relationship with Dicker. Although she became pregnant several times by Singer, he had no desire to have a child with her and she had several abortions at his behest. Dicker and Singer separated following the death of Singer’s son, but they maintained a close professional relationship for many years thereafter.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-friedl-dicker-brandeis" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/f9058_1_1.jpg" alt="" title="Lily Hildebrandt, Friedl Dicker in an open cabriolet, 1920s Bauhaus-Archiv Berlin" class="imagecache imagecache-article_full" width="413" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-friedl-dicker-brandeis"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>In <a href="/en/atlas/jahre/1923" title="1923">1923</a> the two of them founded the “Werkstätten Bildender Kunst” (Workshops for visual art), which produced toys, jewellery, textiles and bookbindings, graphic designs and theatre sets. Commissioned by Berthold Viertel’s theatre, Dicker and Singer travelled to and fro between Berlin, Vienna, Leipzig, Dresden and Cologne. In <a href="/en/atlas/jahre/1925" title="1925">1925</a> Dicker returned to her hometown of Vienna, where she opened a bookbinding and textile studio with her friend Martha Döberl. When Singer followed her there, they set up the Singer-Dicker architecture office together. They received several awards for their work, for example at the <a href="/en/atlas/jahre/1927" title="1927">1927</a> exhibition “Kunstschau” in Berlin and the <a href="/en/atlas/jahre/1929" title="1929">1929</a> exhibition “Modernes Design” in Vienna. Their innovative, practical way of thinking led them to the invention of easily stacked chairs, folding sofas and adjustable lamps that could be used standing, hanging or horizontally. The designs always began as sketches, which were developed as tiny, doll’s house-sized models and then subsequently built in full size in furniture workshops. Soon, the furnishings – or at least one furnishing item – produced by the architecture office belonged to the repertoire of the bourgeois Viennese household. In <a href="/en/atlas/jahre/1930" title="1930">1930</a> they were commissioned to furnish the Montessori kindergarten in Vienna’s Goethehof. Each room had several functions, which Dicker and Singer were asked to combine. They therefore constructed a large, circular drop leaf table with stackable chairs, which, placed against the wall, made room for sleeping mats. The kindergarten, like other buildings by the Singer-Dicker office, no longer exists.</p><p>From <a href="/en/atlas/jahre/1931" title="1931">1931</a> Friedl Dicker ran courses for kindergarten teachers. It was a new chapter in her life, in which she turned to art teaching and drew on what she had learned from Johannes Itten. The main focus in doing so was not so much to teach children, but to sensitise adults to recognise the children’s personalities and artistic abilities. Dicker’s aim was to work together with the children so that they could understand their individual experiences and emotions and commit these to paper. Her exercises did not pursue a specific objective; her aim was to merely encourage the children to concentrate on a creative process.</p><p>During this period, Dicker was an active member of the Communist Party. Like her friend John Heartfield, she produced photo collages for agitprop posters, and did not hold back in doing so. When Hitler came to power in <a href="/en/atlas/jahre/1933" title="1933">1933</a>, the Communist Party went underground. Dicker stored personal documents on behalf of friends and this led to a search of her studio. Forged identity papers were found, for which she was imprisoned. Based on the testimony of Franz Singer Dicker was subsequently released and fled immediately to Prague. Her mother’s sister, Adela Brandeis (née Fanta), lived in Prague with her three sons. Dicker fell in love with the youngest, Pavel, and they were married in 1936. From then on Friedl Dicker called herself Friedl Brandeis and no longer signed her pictures with “FD”, but with “FB”. Professionally, she worked on renovating homes with Greta Bauer and developed textile designs with Frieda Stork. In 1936 as part of a Communist underground group made up of German and Austrian émigrés that met regularly in the bookstore “Schwarze Rose”, Dicker met Hilde Kothny, who was to become a close friend.</p><p>When Hitler’s Germany invaded Czechoslovakia in 1938, Dicker’s friends tried to persuade her to emigrate. Franz Singer had fled to London and invited her to join him. She also received a visa for Palestine from Anny Wottitz’s husband, Hans Moller. But Dicker did not wish to leave her husband, who at this point was no longer able to get a visa. In summer 1938 they moved to the small provincial town of Hronov, where Pavel found work as a chief accountant in a local textile factory. In August 1940 the art dealer Paul Weingraf, who had known Brandeis as Friedl Dicker in Vienna, exhibited her work in the gallery Arcadia in London. In the summer months of 1940 and 1941 Dicker and Brandeis rented a room on a farm near Hronov. Brandeis left her entire archive on this farm. In the time of the mass deportation of Jews (from 1941), the farmer destroyed all but two of the paintings. Among those deported were also Dicker’s mother-in-law and one of her brothers-in-law and his wife, who died in concentration camps. Friedl Brandeis stopped painting.</p><p>On 16 December 1942 she and Pavel were also transported. On 17 December 1942 the couple arrived in Theresienstadt. As a trained carpenter he was sent directly to the workshops; she was sent to the technical department to join other artists, with whom Dicker was supposed to capture the city’s achievements in images. Hitler’s aim was to portray Theresienstadt in the media as a gift to the Jews, a place where they could while away time, drinking coffee. This was, however, just part of the perfidious NS propaganda. The many intellectuals and artists among the prisoners found ways and means to set up children’s homes in which some of the children were helped and taught. Friedl Brandeis became a carer in one of the girls’ homes. She taught them in painting classes and saved most of the drawings that were made here in order to work through them after the war had ended. Her plan was to publish her own study on art therapy for children, based on her experiences with the children in Theresienstadt. On July 1943 in Theresienstadt she delivered her lecture “Children’s drawings” at a workshop for teachers. The complete manuscript was first found in 1971. In summer 1943 the artist organised an exhibition of the children’s drawings in the cellar of the home. In the same year she worked as a costume and set designer for a production of the play “Käferlein” by the actor Nava Schean with the girls from her children’s home. Theatre became part of lessons; the children painted the stage set and dressed up in costumes. Thanks to Friedl Brandeis and other artists in Theresienstadt, some of the children were able to experience some degree of normality and creativity. Alongside her work as a carer and Pavel’s work as a carpenter they began to decorate the children’s rooms. With simple means – for example dyed bedclothes, individual ornaments and mottos above the beds – they made the overfilled, bare rooms a little more homely for the children. Even in this bleak place, Friedl Brandeis never lost her passion for the functional design of spaces, for painting and theatre.</p><p>In autumn 1944 5,000 men, among them Pavel Brandeis, were sent away by rail transport “to build a new camp”. This time too, Friedl Brandeis insisted on staying with her husband and volunteered to be put on the list for the next rail transport. On 8 October her train reached Auschwitz. Shortly before her departure Brandeis packed a suitcase with the children’s drawings; Willy Groag hid this in an attic space and delivered it to the Jewish community in Prague in August 1945.</p><p>Pavel Brandeis survived the concentration camp. Friedl Brandeis died on 9 October 1944, one day after her arrival in the Auschwitz-Birkenau concentration camp.</p><p></p><p><a href="#sdendnote1anc">1</a>“Erwachen”, 1914-1916, August Stramm (1874-1915), German playwright and poet</p><p><a href="#sdendnote2anc">2</a>“Die Haidebraut”, 1914-1916, August Stramm</p><p></p><p>References:</p><p>Liz Elsby, “Coping through Art - Friedl Dicker-Brandeis and the children of Theresienstadt”, The International School for Holocaust Studies, <a href="http://www.yadvashem.org/yv/en/education/newsletter/27/coping_art.asp">http://www.yadvashem.org/yv/en/education/newsletter/27/coping_art.asp</a> (last downloaded: 13.07.2015); Georg Heuberger (Ed.), “Vom Bauhaus nach Terezin, Friedl Dicker-Brandeis und die Kinderzeichnungen aus dem Ghetto-Lager Theresienstadt”, Frankfurt/Main 1991; Elena Makarova, “Friedls Leben”, Friedl Dicker-Brandeis, letters and life, project of the non-profit organisation Janusz Korczak House in Jerusalem, <a href="http://www.makarovainit.com/friedl/leben.pdf">http://www.makarovainit.com/friedl/leben.pdf</a> (last downloaded: 13.07.2015); Elena Makarova, “Friedl Dicker-Brandeis. Ein Leben für Kunst und Lehre”, Vienna 2000; Susan Goldman Rubin, “Fireflies in the Dark: The Story of Friedl Dicker-Brandeis and the Children of Terezin”, New York 2000; Theresienstadt lexikon, “Friedl Dicker-Brandeis”, <a href="http://www.ghetto-theresienstadt.info/pages/d/dickerbrandeisf.htm">http://www.ghetto-theresienstadt.info/pages/d/dickerbrandeisf.htm</a> (last downloaded: 13.07.2015)</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-friedl-dicker-brandeis#comments Architecture Bauhaus Faces Design Painting Sun, 02 Aug 2015 20:01:31 +0000 Anja Guttenberger 8961 at http://bauhaus-online.de The Milchhof in Arnstadt http://bauhaus-online.de/en/magazin/artikel/the-milchhof-in-arnstadt <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p> “A key consideration for the design of the exterior was the creation of a simple and modest building that serves its purpose and also expresses this architectonically. The only decorative element is the company name in large, metal Antiqua letters above the first floor windows on the main façade.”</p><p>(Martin Schwarz, Arnstädter Anzeiger, 2.12.1928)</p><p></p><p>These words were written in December 1928 by an architect who for almost two decades had shaped the Thuringian town of Arnstadt with numerous buildings built in contemporary styles, among them residential and commercial buildings, villas for factory owners, the Fürstliches Gymnasium zu Arnstadt and a synagogue. Born 1885 in Frankfurt, Martin Schwarz had studied architecture under Georg Wickop in Darmstadt and travelled to Arnstadt on his recommendation in 1910 to work on the structural renovation of the towers of the Romanesque-Gothic Liebfrauenkirche. He then settled in the town.</p><p>In <a href="/en/atlas/jahre/1928" title="1928">1928</a> he built the Milchhof in Arnstadt on behalf of a cooperative society, in a construction period lasting just six months: a cubic flat-roof structure with a brickwork façade; an uncompromising building inspired by the Bauhaus’s design principles and social ideas.</p><p>Up to this point Martin Schwarz was a versatile architect, who found masterful, eclectic and diverse solutions for his building projects. His design for this industrial building, employing the distinct cubic forms of the Bauhaus, confounded his audience. The building is one of a kind, not only for Arnstadt.</p><p><strong>Social accountability</strong></p><p>Just nine years after the foundation of the Bauhaus in Weimar, the school’s revolutionary approach to architecture, aesthetic design principles and social goals are, for Schwarz, indispensable design principles. Thus, the article he writes to mark the opening ceremony for the building begins by emphasising the social relevance of a modern milk supply:</p><p>“Now Arnstadt, too, through the alliance of the farmers in our region, has a co-operative dairy, a modern operation that will from now on supply the local population with high quality, properly treated milk and milk products.”</p><p>In the Milchhof, co-operative ideas informed the building programme. This included all the stages of production, from quality control, common rooms and sleeping quarters for the staff to the manager’s flat and the prominently placed, integrated shop for fresh milk and milk products. Here, a large window allowed customers to see into the dairy’s production hall.</p><p>With the transition from co-operative to public ownership during the GDR era, changes were made to the building: windows were bricked up or made smaller, and door openings were relocated. Nonetheless, the principles of cooperative design may still be seen in the layout today. The building has never been used as anything other than a dairy and up to German reunification in 1989, shortly before its ultimate closure, the people of Arnstadt still fetched their milk and butter directly from the source.</p><p><strong>Functionality</strong></p><p>The social idea, very much in the spirit of Gropius’s, is realised and furthered by the marked simplicity of the building. The building materials, from the brickwork façade and reinforced concrete floors to the concrete steps with steel railings, the steel window frames and sliding doors and the tiled floors and walls, underline the functionality of the production spaces. A ceiling height of 1.30 metres means “the milk flows naturally to the processing machines” (Martin Schwarz). Large skylights allow daylight into the interiors. Form follows function.</p><p>On the upper floor, materials such as hardwood parquet and xylolite flooring and the wooden windows in the administration and staff rooms, as well as the dairy manager’s flat, fulfil a different purpose. Instead of a projecting balcony, the flat has a loggia, which allows outdoor access without compromising the cubic form of the building.</p><p><strong>Design</strong></p><p>On three sides of the building, the perimeter concrete loading ramp with glazed awning and the concrete strips on windows and eaves underpin the architecture’s horizontal alignment. The subtle projection of brickwork layers between the windows on the upper floor adds to and supports this horizontal character. There are no vertical drainpipes to disturb this impression; these are located to the rear of the building.</p><p>The building is made up of distinct, intersecting, horizontally and vertically aligned blocks. Horizontal windows meet on the corners of the building. The projecting, asymmetrically placed staircase tower adds rhythm to the western façade and, in combination with the chimney, which is unfortunately no longer present, added a vertical counterpoint to the façade. The façades eschew all symmetry.</p><p>The high quality Buca bricks, made in Saxony, come in a range of colours, which are incorporated randomly in the brickwork to create a shimmering, lively and warm mix of tones from reddish ochre to blue-black.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/the-milchhof-in-arnstadt" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/milchhof_arnstadt_sw_2015.jpg" alt="" title="Jan Kobel (photo), Martin Schwarz (architect), Milchhof Arnstadt, 2015" class="imagecache imagecache-article_full" width="435" height="300" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/the-milchhof-in-arnstadt"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p><strong>Conservation aims</strong></p><p>The Milchhof has been a listed building since 1994. Most of the original windows and window fittings on the upper floor have been preserved, as have many of the internal doors. The restoration of the Milchhof need not rely on speculation.</p><p>The Milchhof in Arnstadt presents a rare opportunity, without pressure from investors and without predefined usage concepts, to methodically and logically determine the objectives of conservation and to allow the future role of the building to grow from the building itself.</p><p>The restoration research will include preliminary assessments by way of archival research, 3-D measurement, in-depth analyses of materials, a timber protection assessment, a preliminary building survey with damage assessment, structural analyses, an energy efficiency assessment and conservation-orientated analysis. Following the completion of these steps, the conservation aims of restoration, independent of the building’s usage, may be determined in detail.</p><p><strong>New usage</strong></p><p>The restoration of the building in line with the precepts of heritage conservation and in the interests of a lasting and culturally orientated public usage requires public sector support. At the same time, owing to its architectural-historical significance and its location, the Milchhof is a key object for a development of the deserted former industrial area known as Am Mühlgraben, located near the town centre on the plain of the river Gera.</p><p>The targeted usage comprises a high-quality conference and event centre for businesses in the region, exhibition and gallery spaces with ceiling heights up to five metres with natural light from above, studios for artists and artisans, three representative flats, and a summer café on the roof terrace. All of these uses are possible without compromising the original design principles.</p><p>The aim is to complete the restoration of the building and to open it to the public in time for the centenary year 2019.</p><p><strong>Milchhof Arnstadt and BAUHAUS 2019</strong></p><p>The Milchhof is a striking example of the architecture of the Bauhaus avant-garde and of the classical modern aesthetic. It is an indispensable part of the Bauhaus heritage in Germany, which has been diminished by war damage and is vulnerable to demolition.</p><p>The Milchhof in Arnstadt isthebuilding to study, by way of the built object itself, the theories of the Bauhaus and the influence of its ideas on the architects of the day and to present these to an international audience. It is a fascinating object of the Bauhaus avant-garde, precisely because Martin Schwarz didnotstudy at the Bauhaus.</p><p>The restoration of this exceptional modern architectural monument, which has been subjected to few changes resulting from other usages, can contribute to demonstrating and bringing to life on the original site the degree to which the Bauhaus influenced designers, artists and architects in Thuringia and in Germany – and how its ideas live on today.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/the-milchhof-in-arnstadt#comments Architecture Design History Objects Sun, 02 Aug 2015 12:08:08 +0000 Walther Grunwald / Jan Kobel 8960 at http://bauhaus-online.de The White City will be restored http://bauhaus-online.de/en/magazin/artikel/the-white-city-will-be-restored <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/the-white-city-will-be-restored"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>The White City in Tel Aviv was built for the most part by German Jewish architects who had fled Nazi Germany around1933. The majority of these had been students at the Bauhaus or had learned their profession with one of the modern architects of the avant-garde in the 1920s and 1930s, for instance Le Corbusier, Erich Mendelsohn, <a href="/en/atlas/personen/ludwig-mies-van-der-rohe" title="Ludwig Mies van der Rohe">Ludwig Mies van der Rohe</a> or<a href="/en/atlas/personen/walter-gropius" title="Walter Gropius"> Walter Gropius</a>. (Shmuel Mestechkin, Munio Gitai-Weinraub, Shlomo Bernstein, <a href="/en/atlas/personen/arieh-sharon" title="Arieh Sharon">Arieh Sharon</a> as Bauhaus students; Dov Carmi, Genia Averbuch, Ben-Ami Shulman, Ze’ev Rechter and Joseph Neufeld with other architects). From Europe to Tel Aviv they brought their skills, building materials and their own architectural aesthetic, which was guided by the maxim “form follows function”: strong linear elements, flat roofs and white facades, which led to the neighbourhood being named White City. From <a href="/en/atlas/jahre/1931" title="1931">1931</a> to 1956, 4,000 buildings were built here in the International Style. Around 1990 1,000 of these were placed under a preservation order; in 2003 the White City was awarded UNESCO World Cultural Heritage status. Over the years the ravages of time and the corrosive sea air have left their mark on the unique buildings, such a great number of which are found only here. They are now going to be restored and in order to save this singular architectonic gem from decay, Germany is providing Israel with financial support to the value of ca. 3.2 million dollars (around 2.9 million euros).</p><p>Further information about the White City in Tel Aviv is found on the homepage of the <a href="http://www.bauhaus-center.com">Bauhaus Center</a> in Tel Aviv.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/the-white-city-will-be-restored#comments Architecture Bauhaus Faces Thu, 23 Jul 2015 06:05:57 +0000 Anja Guttenberger 8953 at http://bauhaus-online.de Before restoration, the exhibition http://bauhaus-online.de/en/magazin/artikel/before-restoration-the-exhibition <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Prior to the restoration of eleven paintings by the Bauhaus master <a href="/en/atlas/personen/georg-muche" title="Georg Muche">Georg Muche</a>, donated by Anneliese and Ludwig Steinfeld, these will be shown in a special exhibition by the <a href="/en/stiftung-bauhaus-dessau" title="Stiftung Bauhaus Dessau">Bauhaus Dessau Foundation</a> from 18 July to 9 August 2015.</p><p><a href="/en/atlas/personen/georg-muche" title="Georg Muche">Georg Muche</a>, along with <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a>, <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a>, <a href="/en/atlas/personen/oskar-schlemmer" title="Oskar Schlemmer">Oskar Schlemmer</a> and <a href="/en/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a>, is one of the most important and bankable painters to have taught at the Bauhaus. Muche arrived at the <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus in Weimar</a> in <a href="/en/atlas/jahre/1919" title="1919">1919</a> and was, as the youngest of the masters, chiefly responsible for the <a href="/en/atlas/werke/weaving-workshop" title="Weaving Workshop">weaving workshop</a> until <a href="/en/atlas/jahre/1927" title="1927">1927</a>. <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a> sought him out personally for the Bauhaus. Previously in Berlin, Muche moved in the same circles as the writer, critic and gallery owner Herwarth Walden (“Der Sturm”) and was thus a member of the avant-garde elite in the early twentieth century. He eventually left the Bauhaus in 1927, having had a significant influence on the <a href="/en/atlas/ort/haus-am-horn_1403" title="Haus am Horn">Haus Am Horn</a> in Weimar, the <a href="/en/atlas/das-bauhaus/lehre/vorkurs-johannes-itten" title="Preliminary Course by Johannes Itten">preliminary course</a> directed by Johannes Itten and the <a href="/en/atlas/werke/metal-prototype-house" title="Metal Prototype House">Stahlhaus</a> on the <a href="/en/atlas/werke/dessau-toerten-housing-estate" title="Dessau-Törten Housing Estate">Dessau-Törten housing estate</a>. As a painter his early interest in abstract art was followed in the 1950s by a shift towards figurative art. His paintings are characterised by a vibrant and radiant use of colour, whereby only a few of his early works survived the war. This makes all the more valuable the 1915 painting “Das große Bild XX”, which may now be seen in the exhibition. This will be complemented by later paintings dating from the 1950s.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/before-restoration-the-exhibition" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/image001_0.jpg" alt="" title="From l. to r.: Georg Muche, “Das große Bild XX”, 1915 and Georg Muche, “Wasserspiegel” (1954) Photo: Tassilo C. Speler" class="imagecache imagecache-article_full" width="435" height="285" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/before-restoration-the-exhibition"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Muche, two of whose paintings were also shown in the NS exhibition of “degenerate art” in Munich in 1938, settled in the 1930s in Lower Rhine and taught textile art there for many years. In Wuppertal at the Institut für Malstoffkunde (Institute for painting materials science) he met together with Oskar Schlemmer and Willi Baumeister. After the war he continued to teach in Krefeld and worked as a painter of frescoes for the Landtag in Düsseldorf (1948) and others. Georg Muche died in 1987 in Lindau, Lake Constance.</p><p>The Muche donation originates from the collection of Anneliese and Ludwig Steinfeld of Schlüchtern. Ludwig Steinfeld (1917-1998) and Georg Muche were friends for many years. Steinfeld was quick to recognise Muche’s significance as an artist and bought his paintings. After the war Steinfeld laboriously gathered together his friend’s paintings, which had been strewn far and wide during the war years, in a small collection. Following the death of his widow Anneliese Steinfeld in 2014, the works were donated to the Bauhaus Dessau Foundation. As a result, for the very first time the Foundation now owns a collection of paintings by this major Bauhaus painter. Previously owners of onlya small number ofMuche’sgraphics, the donation now paves the way for an exemplary exhibition of Georg Muche’s work.</p><p>For further information on the exhibition of the eleven paintings by Georg Muche, please visit the website of the <a href="/en/stiftung-bauhaus-dessau" title="Stiftung Bauhaus Dessau">Bauhaus Dessau Foundation</a>.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/before-restoration-the-exhibition#comments Bauhaus Faces Dessau Exhibition Painting Thu, 23 Jul 2015 05:59:10 +0000 Anja Guttenberger 8952 at http://bauhaus-online.de Reproductions in Henry van de Velde’s Haus Hohe Pappeln http://bauhaus-online.de/en/magazin/artikel/reproductions-in-henry-van-de-velde%E2%80%99s-haus-hohe-pappeln <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The Belgian designer and arts reformer Henry van de Velde (1863–1957) moved to Weimar in 1902 as artistic counsellor to Grand Duke Wilhelm Ernst with the intention of inspiring modern design in craftsmanship and industry in Saxe-Weimar-Eisenach. In order to introduce the “new style” to the younger generation too, he founded the Kunstgewerbeschule (school of arts and crafts) from which the Bauhaus was to develop in 1919. In 1907 on the outskirts of Weimar van de Velde designed a house for his family of seven, known as Haus Hohe Pappeln. Here, he was able to build an architectonic Gesamtkunstwerk without having to submit to the demands of other clients. As with many of his buildings he designed not only the architecture, but also numerous details of the décor itself, from picture rails and curtains to lights. But he – unlike the clients for his other buildings – lacked the means to design the whole interior. He therefore also integrated older furniture characterised by dynamic lines in the new, decidedly simple and elegant style of the house. After the family relocated to Switzerland, the house was sold in 1919. It is now owned by the Klassik Stiftung Weimar and the representative ground floor and the garden, designed by Henry and Maria van de Velde, are open to the public. The furniture of the Münchhausen family, which was designed by van de Velde in Weimar in 1904, has replaced the now missing or scattered original furniture belonging to van de Velde.</p><p>The overall impression of the ground floor, formerly characterised by diverse colours and materials, is to be restored in line with conservation guidelines so that it may be brought to life once again. The project will embrace all fittings and furnishings in the workroom and in the salon. Information pertaining to the authenticity and reconstruction of features will be provided by means of texts, an audio guide and plans. The fitted cabinets along the workroom walls, the two writing desks integrated in these, the radiator casings and a sofa installed against the wall will be reconstructed. The missing wall covering made from Henry van de Velde’s “Tula” cloth can be rewoven in detail. Metal fittings such as handles, picture hooks and decorative elements on the radiator casings will also be reconstructed. In the salon, curtains and lights will be rewoven or redressed. The reconstructions will be based on historic photographs, the statements of historic witnesses, the findings of building archaeology and analogous examples. In the workroom, the study of the preserved window reveals and doors showed evidence of once faintly lustrous surfaces. The removal of more recent layers of render also brought to light the original battens of the wall covering, complete with remnants of coloured thread. Identifying the colours of the room’s original textiles presented the project’s greatest challenge thus far. Although the pattern repeat, material and technique of both wall covering and salon curtain are known from originals from various collections and listed in the second volume of the catalogue of works, Henry van de Velde had the cloth woven in a number of colour variations, which could only be partially identified. A greyscale comparison of historic photographs and the known sample materials however meant it was possible to identify red and pink as the colours of the salon curtain. A study of photos of the nuanced colour changes in the wall covering however was inconclusive. An analysis of the dye in the millimetre-sized remnant of cloth will hopefully give some indication of the original colours of the wall covering. Overall, the room will be defined by the soft matt colours pink (wall), yellow-olive/mud coloured (wall covering), anthracite (radiator niches) and reddish brown (fitted furniture).</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/reproductions-in-henry-van-de-velde%E2%80%99s-haus-hohe-pappeln" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/30-2008-121_1_0.jpg" alt="" title="Louis Held, Portrait of Henry van de Velde, during his time in Weimar, ca. 1910 Klassik Stiftung Weimar" class="imagecache imagecache-article_full" width="435" height="420" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/reproductions-in-henry-van-de-velde%E2%80%99s-haus-hohe-pappeln"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Although Henry van de Velde was a long way from modern mass production around 1908 and championed individual design, he used the same designs many times over. Contemporary analogies of decorative details could therefore be used for the parts of the workroom for which no evidence could be found. The elegant grooves in the edge of the shelving arrangement will be reproduced based on the villa Hohenhof in Hagen, the radiator casings based on an identical example in Hof Lauterbach.</p><p>In its equally functional and unpretentious design vocabulary, the workroom in Haus Hohe Pappeln provides a perfect example of Henry van de Velde’s design around 1908. Here as in his early works, for example for the Berlin hair salon Haby, even the smallest surface is functional and not one detail of the décor is superfluous. By now, van de Velde’s eschewal of a linear dynamic was far more emphatic than it was around 1900. By way of functionalism and a comparatively minimalist simplicity he positioned himself against the revived and thriving tendency towards historicism in furniture design. He brought the structures of the materials into effect and implemented them decoratively so that they superseded the ornament’s functional design. The material vernacular of the grain of the teak wood, the ribbing of the sofa’s cord velvet upholstery and the marbling of the stove give the room its character. When the restoration of the workroom and salon in Haus Hohe Pappeln is complete, this unpretentious but deliberate and elegant minimalism will be brought to life with far greater vibrancy than ever before. Thanks to the outstanding commitment of the highly specialised craftspersons and restorers and the support of the Federal Government Commissioner for Culture and the Media, from April 2016 the architectonicGesamtkunstwerkwill regain an important part of its original appearance as intended by Henry van der Velde.</p><p></p><p>Information for visitors:<br /> Haus Hohe Pappeln<br /> Belvederer Allee 58 <br /> 99425 Weimar</p><p>Opening times:<br /> 9.5. - 24.10.<br /> Tues Wed Thurs Fri Sat Sun | 11 a.m. – 5 p.m.<br /> Closed for restoration from 14 – 26 September 2015</p><p>Admission<br /> Adults 3,00 € | Concessions 2,00 € | Students (aged 16-20) 1,00 €<br /> Free for children and under-16s</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/reproductions-in-henry-van-de-velde%E2%80%99s-haus-hohe-pappeln#comments Architecture Design Weimar Thu, 09 Jul 2015 19:42:24 +0000 Sabine Walter 8943 at http://bauhaus-online.de Bauhaus Face: Hubert Hoffmann http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-hubert-hoffmann <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Born 23 March 1904 in Berlin-Zehlendorf Hubert Hoffmann spent his early years in Monte Verità, Ascona, where his father was working as an architect. He attended school in Hanover then completed an apprenticeship in agriculture in Eastern Friesland. He subsequently returned to Hanover to study at the Bauschule (school of architecture), Kunstgewerbeschule (school of arts and crafts) and the Technische Hochschule (technical university), and for a further year at the Academy of Fine Arts, Munich.</p><p>In <a href="/en/atlas/jahre/1926" title="1926">1926</a> he finally found the ideal educational institution – the Bauhaus Dessau. He enrolled as student No. 124 for the winter term 1926/27 and was immediately able to witness the completion of the Bauhaus building. Up to 1929 his teachers included <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a>, <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a>, <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a>, <a href="/en/atlas/personen/laszlo-moholy-nagy" title="László Moholy-Nagy">László Moholy-Nagy</a> and <a href="/en/atlas/personen/oskar-schlemmer" title="Oskar Schlemmer">Oskar Schlemmer</a>, later also <a href="/en/atlas/personen/hannes-meyer" title="Hannes Meyer">Hannes Meyer</a>, <a href="/en/atlas/personen/joost-schmidt" title="Joost Schmidt">Joost Schmidt </a>and <a href="/en/atlas/personen/alfred-arndt" title="Alfred Arndt">Alfred Arndt.</a> He was involved in a several projects for the expansion of <a href="/en/atlas/ort/siedlung-toerten_643" title="Siedlung Törten">Siedlung Törten</a> and was active in the <a href="/en/atlas/das-bauhaus/werkstaetten/druck-reklame-werkstatt" title="Printing and Advertising Workshop">advertising department</a>.</p><p>After completing his studies, from <a href="/en/atlas/jahre/1929" title="1929">1929</a> to <a href="/en/atlas/jahre/1932" title="1932">1932</a> Hoffmann worked among others for Fred Forbat and <a href="/en/atlas/personen/marcel-breuer" title="Marcel Breuer">Marcel Breuer</a>’s office in Berlin and fitted over fifty grocery stores for a cabinet maker’s, using a modular construction system. At the same time he continued to visit the Bauhaus as a guest student and worked with Jacob Hess and Cornelius van der Linden on the “Analyse von Dessau” (Analysis of Dessau), which was presented at the <a href="/en/atlas/jahre/1933" title="1933">1933</a> CIAM congress.</p><p>From 1934 to 1936 Hoffmann was an assistant to Prof. Müller at the Institut für Kraftverkehr und Städtebau (institute of transport and urban development) of TU Berlin and was subsequently employed in the planning office of the province of Posen. From 1938 to 1939 he also worked briefly as a town planner in Potsdam. In 1940 he was called up to the Wehrmacht, for which he worked among other things as a land-use planner in Lithuania. Towards the end of the war, as an employee of the Akademie für Städtebau (academy of urban development) near Magdeburg, he was briefly incarcerated in an American prisoner of war camp.</p><p>After the war, for a few months Hoffmann was a town planner in Magdeburg and then, from late-1945, in Dessau. Under the reinstated Lord Mayor Fritz Hesse he worked towards the re-opening of the Bauhaus and organised initial measures to safeguard the now severely damaged Bauhaus buildings. From 1946 to 1948 he participated in numerous competitions with a group of former Bauhauslers known as the "Planungsgemeinschaft Bauhaus” (Bauhaus planning collective). Fritz Hesse set Hoffmann the task of reviving the Bauhaus. Ultimately however, the re-opening of the Bauhaus as a modern art school failed following the rise to power of the Socialist Unity Part of Germany (SED), which judged the Bauhaus to be too elitist. Hoffmann was denounced and had to flee to the West.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-hubert-hoffmann" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/hubert_hoffmann_anfang_der_1920er-jahre_privatbesitz.jpg" alt="" title="Unknown photographer, Hubert Hoffmann, beginning of the 1920s Private collection" class="imagecache imagecache-article_full" width="300" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-hubert-hoffmann"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Hubert Hoffmann settled in West Berlin and worked for the building design authorities. From 1953 he worked as a freelance architect for Hans Scharoun and Walter Rossow and others and contributed to the planning of Berlin’s Hansaviertel. In 1957 in association with Wassily Luckhardt he built house no. 9 for the international building exhibition Interbau.</p><p>In 1959 Hoffmann was appointed tenured professor and director of the Institut für Städtebau und Entwerfen (institute of urban design and planning) at the technical university in Graz (now Graz University of Technology). Numerous projects in Austria followed, mainly in Styria and Vorarlberg; Hoffmann also participated in various competitions in Germany.</p><p>In 1956 he became a guest lecturer at Auburn University in Alabama, USA. The same year, he and a team of colleagues won a competition for the Institut für Hochspannungstechnik und elektro- und biomedizinische Technik of TH Graz (institute of electrical engineering of what is now Graz University of Technology), which was realised from 1968 to 1972.</p><p>In the 1970s Hoffmann was a dedicated advisor of citizens’ initiatives and frequently took on the role of initiator. A professor emeritus from 1975, he worked with his former pupil Arnold Werner as an architect and planner in St. Veit, Graz.</p><p>In the meantime the already historic Bauhaus was steadily gaining traction in the public eye and Hubert Hoffmann became one of its most fervent protagonists. Indefatigable and committed, he missed few opportunities to publicly express his views on the subject. He was equally tireless and dedicated in his work as a town planner and architect and worked into old age on numerous developments and buildings.</p><p>In 1983 Hubert Hoffmann was permitted entry to the GDR for the first time in order to attend a Bauhaus colloquium. The GDR had taken offence to his article about the revival of the Bauhaus after 1945, published in Eckhard Neumann’s book “Bauhaus und Bauhäusler. Erinnerungen und Bekenntnisse” and had blacklisted him from 1971 onwards. From 1988 Hoffmann regularly visited Dessau and the Bauhaus on his journeys to the Academy of Arts in Berlin, where he had been a fellow since 1972. He visited Dessau for the last time in 1996 for the 70th anniversary of the opening of the Bauhaus building, by which time he was one of very few contemporary witnesses. It was to be Hubert Hoffmann’s last Bauhaus party – the Bauhaus had also just been awarded World Heritage status – and his final chance to reign as the most indefatigable storyteller and dancer of all.</p><p>Hubert Hoffmann died in Graz on 25 September 1999 at the age of 96.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-hubert-hoffmann#comments Architecture Bauhaus Faces Design Wed, 08 Jul 2015 09:58:41 +0000 Harald Wetzel 8941 at http://bauhaus-online.de The Bauhaus-Archiv shows the winner of architectural competition in December http://bauhaus-online.de/en/magazin/nachricht/the-bauhaus-archiv-shows-the-winner-of-architectural-competi <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>The Bauhaus celebrates its centenary in 2019. On the occasion of these major festivities, the Bauhaus-Archiv / Museum für Gestaltung, Berlin will be reconstructed and expanded. After the reconstruction of the historic Bauhaus-Archiv, which was specifically designed by Walter Gropius, including an annexe to the existing building had been approved, architects were invited to send their aesthetics of a new, expanded museum. In October 2015 the winner will be elected and on display from 2 December, 2015 until 29 February, 2016 in the exhibition "DEPARTURE  – The winning designs for the new Bauhaus-Archiv" together with further awardees of the architectural competition at the Bauhaus-Archiv / Museum für Gestaltung, Berlin. For further information, please visit the website of <a href="http://www.bauhaus.de/en/bauhaus-archiv/1102_aktuelles/1481_neubau_gesichert/">Bauhaus-Archiv / Museum für Gestaltung, Berlin</a>.</p> </div> </div> </div> Architecture Berlin Exhibition Mon, 06 Jul 2015 17:51:40 +0000 Redaktion bauhaus-online.de 8939 at http://bauhaus-online.de Kandinsky collection at Guggenheim on display http://bauhaus-online.de/en/magazin/artikel/kandinsky-collection-at-guggenheim-on-display <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/kandinsky-collection-at-guggenheim-on-display"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Perhaps more than any other twentieth-century painter, Kandinsky has been linked to the history of the Solomon R. Guggenheim Museum. Hilla Rebay, artist, art advisor to Solomon R. Guggenheim, and the institution’s first director, promoted nonobjective painting above all other forms of abstraction. She was particularly inspired by Kandinsky. By 1929 Guggenheim and his wife, Irene, had begun collecting the artist’s work, and, together with Rebay, they visited Kandinsky’s studio at the Bauhaus in Dessau, Germany, in 1930. Before the trip, Rebay wrote to the artist and described Guggenheim’s new interest in the avant-garde: “Mr. G. has gotten to know [the work of] my friends Léger, Gleizes, Braque, Delaunay, Chagall, and Mondrian, but he still loves . . . yours most of all. You will find him to be a fine, great man who is open to all that is first rate, and capable of enthusiasm. A year ago he still knew nothing at all about this art, for one rarely sees good examples of abstract art in New York.” While Guggenheim particularly appreciated Kandinsky’s Bauhaus works, Rebay encouraged him to collect his work in-depth, across various media and from different periods. As a result of this discerning guidance, the Guggenheim collection, established with Solomon's private holdings in 1937, now contains more than 150 works by this single artist.</p><p>This presentation of select works from the Guggenheim collection traces Kandinsky’s aesthetic evolution: his early beginnings in Munich at the start of the century, the return to his native Moscow with the outbreak of World War I, his interwar years in Germany as a teacher at the Bauhaus, and his final chapter in Paris.</p><p>From July 2015 onwards, the Solomon R. Guggenheim Museum presents its very own Wassily Kandinsky collection at their Kandinsky Gallery for nearly one year.</p><p>For further information about the exhibition at the Kandinsky Gallery and the display of the <a href="http://www.guggenheim.org/new-york/collections/collection-online/artists/1515">Kandinsky collection online</a>, please visit the website of the <a href="http://www.guggenheim.org/new-york/exhibitions/on-view/kandinsky-gallery">Solomon R. Guggenheim Museum</a>.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/kandinsky-collection-at-guggenheim-on-display#comments Bauhaus Faces Exhibition Painting Mon, 06 Jul 2015 08:22:03 +0000 Anja Guttenberger 8937 at http://bauhaus-online.de Berlin extends Hélène Binet exhibition http://bauhaus-online.de/en/magazin/nachricht/berlin-extends-helene-binet-exhibition <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>On account of the public’s great interest the Bauhaus-Archiv / Museum für Gestaltung, Berlin extends its current exhibition "Dialogues – Photographs by Hélène Binet" until 26th October, 2015. In the comprehensive display Binet presents poetic architectural photos – beginning with buildings by architects John Hejduk, Ludwig Leo and Le Corbusier and reaching to Peter Zumthor and Zaha Hadid. The images show an interplay between architecture and photography. They generate new landscapes within, created to develop independent existences.</p> </div> </div> </div> Architecture Berlin Exhibition Photography Wed, 01 Jul 2015 20:57:40 +0000 Redaktion bauhaus-online.de 8935 at http://bauhaus-online.de