The works produced by the Bauhaus were entirely diverse as there was no distinct “style.” Students began with a preliminary course that taught the basic Bauhaus theory and then were allowed to enter into specialized workshops....
The Bauhaus movement teaches “truth to materials” as a core tenet, which means that material should be used in its most appropriate and “honest” form, and its nature should not be changed. For example, supportive materials such as steel should be exposed and not hidden within the interior framework of a piece of furniture.
They have crossed the buildings’ threshold and photographed the intermediate spaces between the public and private domains, between the exterior and interior of International Style and Bauhaus buildings in Tel Aviv. They have focused mainly on apartment buildings built in the late 1930s, one of whose salient characteristics – in compliance with a 1937 municipal ordinance – is that part of the ground level adjacent to the entrance is lifted on pilotis, making this a transitional space which is part of the common property.
The photographs in the current book and exhibition are a joint project by the photographer Michael Craig Palmer, who immigrated to Israel from the United States in 1985 and became enamored with the streets of the White City when living there in the 1990s, and the German architect and interior designer Ingrid Botschen, who has researched 1930s and 1940s International Style and Bauhaus architecture in Tel Aviv.
The golden age of architectural rendering, started at the end of the 18th century and lasted until the eve. of the 2nd world war - that is, until the Bauhaus movement practically "outlawed" all architectural delineation.
He taught his firm belief in the use of color and visual elements to depict the artist’s mood without the use of subject matter.
Johannes Itten also played a major role in early Bauhaus.
''We wanted to create a central place to organize the Harvard Art Museums’ Bauhaus materials to help students, scholars, and the public find their way through the collections and discover new artists and objects,” said Robert Wiesenberger, the 2014–16 Stefan Engelhorn Curatorial Fellow in the Busch- Reisinger Museum at the Harvard Art Museums.
The Bauhaus Special Collection aims to broaden awareness of both the Bauhaus and its afterlife in America, and at Harvard University in particular. Accessible by users of mobile and desktop platforms, all sections of the resource are navigable by a menu bar at the top of each page. The collection begins with a of the school’s activities in Germany and the United States.
The resource features works by such prominent Bauhaus artists as Josef and Anni Albers, Marcel Breuer, Wassily Kandinsky, Paul Klee, and László Moholy- Nagy, and also includes the archives of artist and Bauhaus master Lyonel Feininger and the school’s founder, Walter Gropius. Works by many lesser-known figures associated with the school and Americans educated in the Bauhaus model are part of the collection as well.
Catalogue for Bauhaus: Weimar, 1919–23; Dessau, 1924, Harvard Society for Contemporary Art, December 1930–January 1931. Records of the Harvard Society for Contemporary Art, 1929-1936, HUD 3298, box 1, Harvard University Archives.
The opening will include a launch of Julia Kislev's original coloring book "Colors of the White City", published by The Bauhaus Center.
A section dedicated to Wiesenberger’s essay “” provides an account of how the history of the Bauhaus is linked intimately with the history of Harvard, and how Cambridge and the greater Boston area became a hub for modernist design in America.
The Bauhaus Special Collection also includes a comprehensive list of Bauhaus-related and held across Harvard and an extensive . An shows the locations of institutions and archives affiliated with the school in and around Boston, as well as architectural points of interest, including the Gropius House in Lincoln, the John F. Kennedy Federal Building, and many lesser-known projects.
Pius Pahl, Ludwig Mies van der Rohe with Students at the Bauhaus, Dessau, 1930-1931, Harvard Art Museums/Busch-Reisinger Museum, Gift of Howard Dearstyne, BR50.36.