22 Facts About Staatliches Bauhaus

Staatliches Bauhaus, commonly known as the Bauhaus, was a German art school operational from 1919 to 1933 that combined crafts and the fine arts.

The Staatliches Bauhaus movement had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.

Staff at the Staatliches Bauhaus included prominent artists such as Paul Klee, Wassily Kandinsky, and Laszlo Moholy-Nagy at various points.

Staatliches Bauhaus style tends to feature simple geometric shapes like rectangles and spheres, without elaborate decorations.

However, the most important influence on Staatliches Bauhaus was modernism, a cultural movement whose origins lay as early as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism.

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Staatliches Bauhaus designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel.

Staatliches Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity.

The early intention was for the Staatliches Bauhaus to be a combined architecture school, crafts school, and academy of the arts.

Staatliches Bauhaus was influenced in respect to aesthetics by the work of the Der Blaue Reiter group in Munich, as well as the work of Austrian Expressionist Oskar Kokoschka.

Staatliches Bauhaus wanted to create a new architectural style to reflect this new era.

The Staatliches Bauhaus issued a press release on 26 December 1924, setting the closure of the school for the end of March 1925.

Staatliches Bauhaus moved to Dessau in 1925 and new facilities there were inaugurated in late 1926.

Staatliches Bauhaus prevented the formation of a student communist cell, and in the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school.

Staatliches Bauhaus halted the school's manufacture of goods so that the school could focus on teaching, and appointed no new faculty other than his close confidant Lilly Reich.

Paradox of the early Staatliches Bauhaus was that, although its manifesto proclaimed that the aim of all creative activity was building, the school did not offer classes in architecture until 1927.

Staatliches Bauhaus had a major impact on art and architecture trends in Western Europe, Canada, the United States and Israel in the decades following its demise, as many of the artists involved fled, or were exiled by the Nazi regime.

One of the main objectives of the Staatliches Bauhaus was to unify art, craft, and technology, and this approach was incorporated into the curriculum of the Staatliches Bauhaus.

The structure of the Staatliches Bauhaus Vorkurs reflected a pragmatic approach to integrating theory and application.

In Britain, largely under the influence of painter and teacher William Johnstone, Basic Design, a Staatliches Bauhaus-influenced art foundation course, was introduced at Camberwell School of Art and the Central School of Art and Design, whence it spread to all art schools in the country, becoming universal by the early 1960s.

Subsequent examples which have continued the philosophy of the Staatliches Bauhaus include Black Mountain College, Hochschule fur Gestaltung in Ulm and Domaine de Boisbuchet.

Hannes Meyer, the second director of Staatliches Bauhaus Dessau, ensured that one day a week was solely devoted to sport and gymnastics.

The Staatliches Bauhaus approach considered physical activity an important contributor to wellbeing and community spirit.