Monday, March 28, 16Bauhaus was the cathedral, because it symbolized man’s spiritual needs as well...

Monday, March 28, 16

The Bauhaus


In 1919, Walter Gropius was the first director of a new school which was a

merging of The Weimar Arts and Crafts School (the applied arts school) and the

Weimar Art Academy (the fine arts school).

He renamed it Das Staatliche Bauhaus(The State Home for Building)


Attributed to Johannes Auerbach first Bauhaus seal 1919(a student competition)


Gropius sought a complete unity of art and technology through the combined disciplines of

fine and applied arts.

One of the early symbols of the Bauhaus was the cathedral, because it symbolized man’s

spiritual needs as well as functional needs.


The workshops at the Bauhaus were taught by an artist AND a craftsman and followed the MEDIEVAL model of Master, Journeyman and Apprentice.

At the Bauhaus, there was no distinction between fine and applied art.


Lyonel FeiningerCathedral,1919woodcut on the title page of the Bauhaus Manifesto


Oscar Schlemmer, later Bauhaus seal, 1922


Joost SchmidtBauhaus Exhibition poster1923


Herbert Bayer, cover design, Staatliches Bauhaus in Weimar, 1919-1923, 1923

Laszlo Moholy-Nagy, title page, Staatliches Bauhaus in Weimar, 1919-1923


Laszlo Moholy-Nagyproposed title page for Broom, 1923


Laszlo Moholy-Nagyposter for tires1923


Laszlo Moholy-Nagy, Chairs at Margate, 1935


Texture, light/dark, repetition, unexpected points of view and angles were all part

of Moholy-Nagy’s aesthetic.


Laszlo Moholy-NagyPhotogram1922


Walter Gropius, Dessau Bauhaus building, 1925-26Monday, March 28, 16

The Bauhaus at Dessau was where the Bauhaus philosophy flourished

from 1925 to 1932. The masters were now called professors.

The medieval model was abandoned.


Laszlo Moholy-Nagy, dust jackets for 4 Bauhaus books 1924-30


Herbert Bayersymbol for the Kraus stained-glass workshop, 1923


Herbert Bayer, proposed streetcar station and newsstand, 1924


Herbert Bayercover for Bauhaus magazine 1928


Herbert Bayer,universal alphabet1925

Bayer believed that upper and lower case letters were visually incompatible


During the Dessau period the Bauhaus’s typography and

graphic design classes, taught by Herbert Bayer, solicited print

design work from local businesses.


Herbert Bayer1926 exhibition poster shows principles of typographic hierarchy


Herbert BayerEuropean Arts and Crafts exhibition poster1927


Joost SchmidtBauhaus magazine cover1929


In 1933, the Bauhaus shut down because of Nazi harrassment

and interference.


https://www.youtube.com/watch?v=ZQa0BajKB4Q




Jan Tschichold (son of a designer and sign painter) developed an early interest in calligraphy. He would later call for a

radical approach to typography in his book, The New Typography (Die Neue Typographie)


Jan TschicholdHandlettered ad for the Leipzig Trade Fair, 1922


Jan Tschichold, display poster for a publisher, 1924(an early attempt to apply modernist design principles to his work)


Jan Tschicholdcover for Elementare Typographie insert1925


Jan Tschichold, pages from Elementare Typographie insert, 1925


Jan Tschichold, pages from Elementare Typographie insert, 1925Illustrated with El Lissitzky’s work, Russian Constructivism is explained


Jan TschicholdThe New Typography1928


Jan Tschicholdmovie poster forDie Hose (The Trousers)1927


Jan Tschichold, poster for Der Berufsphotograph (The Professional Photographer), 1938


Jan Tschicholdexhibition poster for Konstructivism (Constructivism)1937


Jan Tschichold, brochure cover for The Pelican History of Art, 1947Jan Tschichold, paperback book cover, 1950


After World War II, Jan Tschichold suggested that

designers should draw upon the whole history of design to create solutions that successfully express content!


Eric GillGill Sans type family1928-30


Eric Gill, page from The Four Gospels, 1931Eric Gill, page from Essay on Typography, 1931


In his 1931 text Essay on Typography,

Eric Gill advanced the concept of unequal line lengths

(ragged right) in text type.


Paul Renner, folder for Futura, 1927


Paul RennerFutura typefaces1927-30


Stanley Morrison, typographic advisorThe London Times, Oct. 3, 1932


Times New Roman was designed by Stanley Morrison for the London Times. It is slightly

condensed with short ascenders and descenders. These attributes make it a

perfect typeface for newspapers as more words fit on each page.


Piet Zwartad for the Laga company1923


Piet Zwart, folder, 1924


Piet Zwart, pages from the NKF cableworks catalog, 1928


Piet Zwart, pages from the NKF cableworks catalog, 1928Monday, March 28, 16

Piet Zwartpage from the english language NKF cableworks catalog1926


H.N. Werkmanpage from The Next Call, no. 2(an experimental typographic magazine)1923


H.N. Werkman, pages 2 and 3 of The Next Call, no. 4, 1924To commemorate Lenin’s death


H.N. Werkmanpages 4 and 5, The Next Call, no. 4, 1924


Paul Schuitemabrochure cover for scale company before 1929“So clear, so small”


Willem Sandbergpage from Experimenta typographica1956to show meaning of the word KRUGES (jugs) the U is filled with blue w’s (water)


Willem Sandbergpage from Experimenta typographica, 1956


Willem Sandbergcover for Museum Journal of Modern Art1963


pages from Nu (Now), 1959


Herbert MatterSwiss tourism poster1934


Herbert MatterSwiss tourism poster1935


Herbert Matterposter for Pontresina1935


Herbert Matter pioneered extreme shifts in scale for

Swiss tourism posters.


Monday, March 28, 16Bauhaus was the cathedral, because it symbolized man’s spiritual needs as well...

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