Bauhaus remains one of the most important design movements of the 20th century. Many of the core principles of Bauhaus have become fully integrated with design and development, influencing city planning and public art as well, because the fundamental principle of Bauhaus is the integration of design with everyday life. Architect Walter Gropius started the Bauhaus movement in 1919 Weimar. In 1925, Gropius moved Bauhaus's headquarters to Dessau. Simplicity of form and an embrace of industrialization were cornerstones to the Bauhaus movement as a whole, throughout its existence. However, there are several elements that distinguish the earlier Weimar Bauhaus from the Dessau Bauhaus. Although Weimar is where Bauhaus began, Dessau is where Bauhaus matured. In Weimar, the groundwork was laid for the conceptualization of the new approach to art and design. The 1919 logo for the Bauhaus movement encapsulates the geometric elements that became a hallmark of Bauhaus. A circle encloses lines and rectangles to form the image of a human profile. Thus, Bauhaus signifies the use of simple and basic design elements in service of functionality. Unnecessary adornments are shunned in favor of the basics. For example, a chair designed by Marcel Breuer in 1920 exemplifies this early era of Bauhaus in Weimar. It is a simple chair in that the wooden frame is sharply linear. Only a few bands of fabric provide support for buttocks and back, showcasing the minimal elements required for an object to be called a "chair." A minimalist...
A 1923 Bauhaus poster incorporates the original 1919 logo into a larger geometric composition. Solid blocks of color create absolute shapes including square and circle. Printed text is fully integrated with the geometric design, showing that Bauhaus is about the synthesis of all elements of life: art no longer needs to be segregated from the practical needs of existence. Bauhaus actually did encompass typeface design as part of its oeuvre. Moreover, this 1923 poster also imparts the sense of being an architectural blueprint. The shapes convey chairs and tables in their essential forms.
" (Nora FitzGerald, 2002) Bauhaus popularized functional design, a technique that focused specifically on the major functions of everything including buildings, textiles, tables, lamps etc. To make them more easily accessible and usable. Bauhaus artists were the first to understand the needs of the new urban breed of workers who were looking for cleaner and sleeker design in everything in order to make better use of space without feeling cramped. Gropius
To be sure, under the label Art Nouveau, there resides a long list of diverse artistic styles, from two dimensional arts to constructive and geometrical arts. Art Nouveau was an important architectural movement, inspired by the inherent patterns of nature. For example, C.F.A. Voysey's textile prints showcase plant forms in free curves, while Christopher Dresser's design philosophy stemmed from his knowledge of botany. Aubrey Beardsley (1872-98) is famous for his
Bauhaus After World War I, the nation state of Germany under the direction of architect Walter Gropius created a "consulting art center for industry and the trades" (Bayer 12). Called Bauhaus, "house for building," the school combined the role of artisans and craftspeople and included everything from architecture to theater to typography. When the school was forced to close during the Nazi regime in 1932, many of its artists moved to
His paintings were and are provocative because, instead of using personal confessions (like Dali), he uses irony and wit and intelligence to make his point hear. "The Treason of Images" is controversial in the sense that it makes the viewer question art and language and the meaning that we apply to objects. Magritte questions the assumptions made by people about the world, changing the scale of objects and defying
In the "temple paintings" by Anuszkiewicz, for example, a sense of depth is elicited by the utilization of two contrasting colors. Looking at these works, we are under the impression that we are looking at something in three dimensions. It is almost as though an architectural work is invading the space in which we view the picture. Stanczak went even further in his pictorial compositions with color. As a matter
In Braque's "Woman with a Guitar we can see the foreshadowing of the Synthetic Cubism period, when he introduces stenciling and lettering, a practice that Picasso was soon to imitate. Figure 7: Picasso, Le Guitariste"(1910 Figure 8: Braque "Woman with a Guitar" (1913 Synthetic Cubism/Collage 1912-1914: Braque was beginning to experiment further now by mixing materials such as sand and sawdust into his paint to create a more textured, built- up look and what
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