An analytical and practical adaptation of the Bauhaus books showing amazing possibilities for graphic designers today.

Oskar Schlemmer (1888 - 1943) was one of the most versatile all - rounders of the last century and as unusual as a painter as he was as a sculptor, draughtsman, graphic artist, stage designer, wall designer, creator of epochal dance projects and author. His vision was the "n ew" man living in functional architecture, thinking clearly and acting clearly in the modern age which would never again sink into the chaos of war. The catalogue accompanying the first comprehensive Schlemmer retrospective for almost forty years presents over 250 high - quality works, in particular the seven original costumes of the Triadisches Ballett (Triadic Ballet) together with rare documents of the time. The connection between the all - encompassing attempts at reform of the Bauhaus are discussed as well as Schlemmer's vain attempts to reconcile his "unpolitical" art with the Nazi dictatorship's ideas of state - controlled art. The focus will be directed towards Schlemmer's lofty ethical demands, which always regarded man, typified as a "Kunstfigur" (artist ic figure) as the "measure of all things".

This book, a valuable introduction to the Bauhaus movement, is generously illustrated with examples of students' experiments and typical contemporary achievements. The text also contains an autobiographical sketch.

When Lazlo-Moholy-Nagy, a member of the German Bauhaus, founded the Institute of Design in Chicago after World War II, a young sailor who had seen action in the Pacific enrolled. Inspired by Moholy's vision of design as a tool to change the world, Harold Cohen vowed to pursue it after Moholy's death in 1948. In the mid-1950s, Delyte Morris, the visionary and ambitious state college president in Southern Illinois, hired Cohen to do just that. Cohen's not-yet-famous friend, Buckminster Fuller, joined him in Carbondale, where their visions of a better world formed the second American Bauhaus."Shared Vision: The Second American Bauhaus" describes this unique period in design practice and education through interviews with faculty, staff, and students. It includes ample photographs and materials.

Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition. From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.

For the 100th anniversary of the founding of the Staatliches Bauhaus in 2019, the Documenta archive and the University of Kassel conceived an exhibition, a symposium and this publication, as a means of examining the affinities between the legacies of the interconnected "brands" of Bauhaus and Documenta. Both institutions came into being after the cataclysms of world war (in 1919 and 1955) and both of them "exemplify," as the organizers put it, "the liberating power of art and culture." Collecting writings from key figures in the formation of both organizations--including Arnold Bode, Walter Gropius and Hannes Meyer--alongside contributions by scholars and academics Bazon Brock, Walter Grasskamp, Birgit Jooss, Philipp Oswalt, Nora Sternfeld, Annette Tietenberg, Fred Turner, Daniel Tyradellis and Daniela Stöppel (among many others), this is a major assessment of two exemplars of Germany's pivotal role in modern and contemporary art.

In a fleeting fourteen year period, sandwiched between two world wars, Germany's Bauhaus school of art and design changed the face of modernity. With utopian ideals for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology to be applied across painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre, and installation. As much an intense personal community as a publicly minded collective, the Bauhaus was first founded by Walter Gropius (1883-1969), and counted Josef and Anni Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Gunta St lzl, Marianne Brandt and Ludwig Mies van der Rohe among its members. Between its three successive locations in Weimar, Dessau and Berlin, the school fostered charismatic and creative exchange between teachers and students, all varied in their artistic styles and preferences, but united in their idealism and their interest in a "total" work of art across different practices and media. This book celebrates the adventurous innovation of the Bauhaus movement, both as a trailblazer in the development of modernism, and as a paradigm of art education, where an all-encompassing freedom of creative expression and cutting-edge ideas led to functional and beautiful creations.

László Moholy-Nagy (1895?1946), painter, photographer, Bauhaus teacher and founder of the?New Bauhaus? and the?School of Design? in Chicago, is one of the most important artist personalities of the modern age. As one of the first artists to work in multiple media, who practised painting, sculpture, photography, film and design as equally valid art genres, he set standards which are still relevant today.00Appointed to the Bauhaus in Weimar by Walter Gropius in 1923, Moholy-Nagy also followed him to Dessau before leaving Nazi Germany in 1933, eventually finding a second home in Chicago in 1937. Both as a teacher and an artist he pursued his revolutionary vision of uniting art and life in order to permit artistic activities to flow over into everyday life. Moholy-Nagy made an important contribution in particular in the recognition of photography, which as a new medium had hitherto not been regarded as art. This volume provides excellent insight into the life and work of the avant-garde artist.