The Bauhaus is a paradigmatic institution of 20th-century art, in some contexts synonymous with the aesthetic and discursive institution of modernism itself. Founded in 1919 in the city of Weimar, Germany, the Bauhaus school of design (Staatliches Bauhaus) was formed through the merger of the Weimar Grand Ducal Saxon schools of fine and applied arts by its first director, the architect Walter Gropius. Having attracted controversy and persecution in the tense political environment of the Weimar Republic, the Bauhaus was forced to relocate twice (to Dessau in 1925 and to Berlin in 1932) before it was finally shut down by the Nazis in 1933. The move to Dessau, however, gave Gropius an opportunity to design and build a new headquarters for the school, which became one of the most iconic contributions to modern architecture. The Bauhaus also lived on in a constellation of attempts to revive its pedagogical and design principles in a range of geographical contexts through the century. More than that, the “Bauhaus” has entered the lexicon of modern art as a formal and conceptual entity, a “style” and an “idea,” with a profound impact on the visual culture of our time. The Bauhaus school was a wellspring of boundary-breaking experiments across the arts, including architecture, industrial and typographic design, theater, photography, textiles, painting, and sculpture. Through the full array of its initiatives, the Bauhaus emerged as an extended interrogation of the changing status and social role of art in the age of industrial production. At its core, however, the Bauhaus was a collective invention of many gifted instructors and students, who shaped the institution as a laboratory of cooperative living, working, and learning. Studies of individual artists and designers, many with distinguished careers beyond the school (Josef and Anni Albers, László and Lucia Moholy-Nagy, Johannes Itten, Marcel Breuer, Oskar Schlemmer, Marianne Brandt, Gunta Stölzl, Hannes Meyer, Ludwig Mies van der Rohe, Paul Klee, Wassily Kandinsky, Herbert Bayer, and many others) have done much to complicate Bauhaus historiography, demonstrating that its pedagogical philosophies and design approaches shifted with patterns of individual influence and undermining the notion of a cohesive and singular Bauhaus “idea.” The scope of scholarly interest in the institution is matched by the range of artistic disciplines and approaches it encompassed. This means that the extant Bauhaus literature in a plurality of languages and formats could fill a small library building. The 2019 centennial of the school’s founding has provided a fresh infusion of up-to-date scholarship.
Entre Itten y Gropius: algunas contradicciones culturales de la Bauhaus
