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De Stijl and Bauhaus

De Stijl Think back a couple of lectures ago to the Suprematists and Constructivists and their idealized view of what could be. In 1917, a young group of Dutch artists come together to form a similarly optimistic movement with an accompanying publication which shared the movement's name: De Stijl (the Style). De Stijl is cofounded by a pair of painters who believed in the birth of a new artistic age in the wake of the destruction of World War I. Those painters were Theovan Doesburg and Piet Mondrian. They said of their movement, "there is an old and a new consciousness of time. The old is connected with the individual. The new is connected with the universal." They believed that art and life were no longer separate domains and that the idea of this separation must disappear. De Stijl was meant to be a total integration of art and life. They proclaimed, "The word 'art' no longer means anything to us. In its place we demand the construction of our environment in accordance with creative laws based upon a fixed principle. These laws, following those of economics, mathematics, technique, sanitation, etc, are leading to a new, plastic unity." Bauhaus Similar in many ways to the De Stijl movement, in Germany, Walter Gropius developed a particular vision of "total architecture." He developed a school that became a movement. It was called Bauhaus. In 1919, Gropius became the director of the Weimar School of Arts and Crafts in German (which had been around since 1906). He changed the name to Das Staactliche Bauhaus (which basically means the School of Building). He wanted to teach and train artists, architects, and designers to anticipate the newly developing needs of the 20th century. He also wrote the Bauhaus Manifesto which set out the curriculum and goals for his school. The first principle in the manifesto was to do with strong basic design. Gropius was a big believer in this and in craftsmanship as a fundamental component of good art and design. He believed there was essentially no difference between artist and craftsperson, and likewise, no difference between art and craft. The Bauhaus offered a very wide range of courses in addition to typical painting, sculpture, and architecture classes including: carpentry, furniture design, weaving, pottery, bookbinding, metalwork, stained glass, mural painting, stage design, typography, and advertising. Each class was co-taught by a "teacher in form" and a "technical instructor." Vassily Kandinsky and Paul Klee both taught at the Bauhaus. Bauhaus also advocated thorough knowledge of machine-age technologies to prepare graduates for the coming technologically advanced "modern world." Students were also educated about mass production and industry. Gropius ultimate goal was to create a marriage of art and industry and a synthesis of deign and production. One of Hitler's first acts upon coming to power was to close the Bauhaus in 1933. He suspected that the "radicalized" student body was printing anti-Nazi brochures. Fewer than 500 students graduated from Bauhaus in its 14-year history. But It achieved legendary status and had an impact on design aesthetics that we still see today. Numerous instructors from the Bauhaus fled Nazi Germany and spread the ideas and curriculum from the school. Gropius ended up in the United States at Harvard University.