2019 marks the 100 year anniversary of The Bauhaus.
In honor of this anniversary, I will be publishing three essays exploring the history of The Bauhaus. We’ll move more or less chronologically starting here with the early history of the school.
The second essay will explore the middle period, as Bauhaus – now a set of ideas and some key individuals – left Germany and moved into western Europe and then America.
The final essay will treat the later years of Bauhaus up until the present.
Later, it became a style and a movement and a look (geometric, elegant, spare, modern) that could be found to greater and lesser degrees in art, craft and architecture all over the world.
But in retrospect, I think it is fair to say that Bauhaus was always an attempt to fuse the craft and aesthetic ideas of a pre-modern age with the realities of 20th century industry and technology.
Here’s another line from the manifesto: “Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist!
” I need not, anymore, draw your attention to the exclamation marks.
And this guild system was, itself, tied to the production of art and architecture in the service, mostly, of the church.
That’s to say, an institution with the purpose of shaping the souls of human beings.