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131-446: The Neues Sehen , also known as New Vision or Neue Optik , was a movement, not specifically restricted to photography, which was developed in the 1920s. The movement was directly related to the principles of the Bauhaus . Neues Sehen considered photography to be an autonomous artistic practice with its own laws of composition and lighting, through which the lens of the camera becomes

262-476: A World Cultural Heritage site , as "an outstanding example of new town planning and architecture in the early 20th century." The citation recognized the unique adaptation of modern international architectural trends to the cultural, climatic, and local traditions of the city. Bauhaus Center Tel Aviv organizes regular architectural tours of the city, and the Bauhaus Foundation offers Bauhaus exhibits. As

393-699: A culture war of far right-wing provocation. In September 2020, President of the European Commission Ursula von der Leyen introduced the New European Bauhaus (NEB) initiative during her State of the Union address. The NEB is a creative and interdisciplinary movement that connects the European Green Deal to everyday life. It is a platform for experimentation aiming to unite citizens, experts, businesses and institutions in imagining and designing

524-505: A "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither Mies van der Rohe nor his Bauhaus students saw any projects built during the 1930s. The Bauhaus movement was not focused on developing worker housing. Only two projects, the apartment building project in Dessau and the Törten row housing fall into the worker housing category. It

655-557: A 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. One of the most important contributions of the Bauhaus is in the field of modern furniture design. The characteristic Cantilever chair and Wassily Chair designed by Marcel Breuer are two examples. (Breuer eventually lost

786-623: A basic course in aesthetic principles, courses in color theory , industrial design, and architecture. Vkhutemas was a larger school than the Bauhaus, but it was less publicised outside the Soviet Union and consequently, is less familiar in the West . With the internationalism of modern architecture and design, there were many exchanges between the Vkhutemas and the Bauhaus. The second Bauhaus director Hannes Meyer attempted to organise an exchange between

917-399: A design school in the tradition of the Bauhaus. The school is notable for its inclusion of semiotics as a field of study. The school closed in 1968, but the "Ulm Model" concept continues to influence international design education. Another series of projects at the school were the Bauhaus typefaces , mostly realized in the decades afterward. The influence of the Bauhaus on design education

1048-475: A grim reaper, and a line of people leading up into the sky. Höch returned to the female figure in the 1960s after a long period where she favored surrealism and abstraction. Strange Beauty II is a part of this return, showing a woman surrounded by feathery pink fauna. The woman's face is covered by a Peruvian terracotta trophy head. In this piece, Höch effaces the figure of the New Woman and replaces her head with

1179-514: A large body of advertising material she had collected, in images that were unprecedented in their insights into the way society 'constructs' women" (Hudson). Höch considered herself a part of the women's movement in the 1920s, as shown in her depiction of herself in Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands (1919–20). Her pieces also commonly combine male and female traits into one unified being. During

1310-586: A later activist of the Berlin Dada movement. Höch's involvement with the Berlin Dadaists began in earnest in 1917. Höch, as the only woman among the Berlin group, was singled out for her self-sufficiency, masculine presentation, and bisexuality, as she consistently addressed themes of the "New Woman" free to vote, free to enjoy sexual encounters and begin them, and free financially. From 1916 to 1926, she worked in

1441-532: A legal battle in Germany with Dutch architect/designer Mart Stam over patent rights to the cantilever chair design. Although Stam had worked on the design of the Bauhaus's 1923 exhibit in Weimar, and guest-lectured at the Bauhaus later in the 1920s, he was not formally associated with the school, and he and Breuer had worked independently on the cantilever concept, leading to the patent dispute.) The most profitable product of

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1572-436: A lengthy debate over who should head the institution and the socio-economic meanings of a reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus. In the pamphlet for an April 1919 exhibition entitled Exhibition of Unknown Architects , Gropius, still very much under

1703-708: 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. In 1996, four of the major sites associated with Bauhaus in Germany were inscribed on the UNESCO World Heritage List (with two more added in 2017). In 1928, the Hungarian painter Alexander Bortnyik founded

1834-561: A meaningful way. The ambiguity in her work was integral to the way which she addressed issues of sexuality and gender. These complex constructions of genders allow women to embrace both their masculine and feminine attributes. This leads to an intensified sense of individualism. Photomontage is a large part of Höch's legacy as an artist. While the Dadaists, including Georg Schrimpf , Franz Jung , and Johannes Baader , "paid lip service to women's emancipation," they were clearly reluctant to include

1965-474: A mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship versus mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not

2096-493: A modern couple that embraces gender equality in their relationship, a novel and shocking concept for the time. This is an example of how Höch was able to transcend one particular medium and convey her social ideals in many forms. Höch's time at Ullstein Verlag working with magazines targeted at women made her acutely aware of the difference between women as portrayed in media and their reality, and her workplace provided her with many of

2227-410: A new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic merit. The Bauhaus issued a magazine called Bauhaus and

2358-456: A particularly female perspective" (Makholm). "Höch was not only a rare female practicing prominently in the arts in the early part of the twentieth century—near unique as a female active in the Dada movement that coalesced in her time—she also consciously promoted the idea of women working creatively more generally in society. She explicitly addressed in her pioneering artwork in the form of photomontage

2489-440: A place in the movement, by writing in his memoirs that "she was never a member of the club." She nonetheless held the title of “Dadasophin“ within the movement. Höch is best known for her photomontages . These collages, which borrowed images from popular culture and utilized the dismemberment and reassembly of images, fit well with the Dada aesthetic, though other Dadaists were hesitant to accept her work due to inherent sexism in

2620-688: A private love relationship. In 1935, Höch began a relationship with Kurt Matthies, to whom she was married from 1938 to 1944. Höch spent the years of the Third Reich in Berlin, Germany, keeping a low profile. She was the last member of the Berlin Dada group to remain in Germany during this period. She bought and lived in a small garden house in Berlin-Heiligensee, a remote area on the outskirts of Berlin. She married businessman and pianist Kurt Matthies in 1938 and divorced him in 1944. She suffered from

2751-597: A profound influence on subsequent developments in art, architecture, graphic design, interior design, industrial design , and typography . Staff at the Bauhaus included prominent artists such as Paul Klee , Wassily Kandinsky , Gunta Stölzl , and László Moholy-Nagy at various points. The school existed in three German cities— Weimar , from 1919 to 1925; Dessau , from 1925 to 1932; and Berlin , from 1932 to 1933—under three different architect-directors: Walter Gropius from 1919 to 1928; Hannes Meyer from 1928 to 1930; and Ludwig Mies van der Rohe from 1930 until 1933, when

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2882-547: A range of materials and processes. This approach to design education became a common feature of architectural and design school in many countries. For example, the Shillito Design School in Sydney stands as a unique link between Australia and the Bauhaus. The colour and design syllabus of the Shillito Design School was firmly underpinned by the theories and ideologies of the Bauhaus. Its first year foundational course mimicked

3013-479: A relationship with the Dutch writer and linguist Mathilda ('Til') Brugman , whom Höch met through mutual friends Kurt and Helma Schwitters. By autumn of 1926, Höch moved to The Hague to live with Brugman, where they lived until 1929, at which time they moved to Berlin. Höch and Brugman's relationship lasted nine years, until 1935. They did not explicitly define their relationship as lesbian, instead choosing to refer to it as

3144-544: A school of design in Budapest called Műhely, which means "the studio". Located on the seventh floor of a house on Nagymezo Street, it was meant to be the Hungarian equivalent to the Bauhaus. The literature sometimes refers to it—in an oversimplified manner—as "the Budapest Bauhaus". Bortnyik was a great admirer of László Moholy-Nagy and had met Walter Gropius in Weimar between 1923 and 1925. Moholy-Nagy himself taught at

3275-468: A second eye for looking at the world. This way of seeing was based on the use of unexpected framings, the search for contrast in form and light, the use of high and low camera angles, etc. The movement was contemporary with New Objectivity with which it shared a defence of photography as a specific medium of artistic expression, although Neues Sehen favoured experimentation and the use of technical means in photographic expression. The inter-war years saw

3406-481: A series of books called "Bauhausbücher". Since the Weimar Republic lacked the number of raw materials available to the United States and Great Britain, it had to rely on the proficiency of a skilled labour force and an ability to export innovative and high-quality goods. Therefore, designers were needed and so was a new type of art education. The school's philosophy stated that the artist should be trained to work with

3537-436: A significant change in the field of photography. On one hand, there was a reaction against the painterly approach; while on the other, there was a renewed interest in the new forms of artistic expression. The three main currents developed during that period are Neues Sehen , New Objectivity and straight photography . All of them favoured specificity in the photographic medium and its separation from painting. They stood against

3668-507: A single proper form could exist, were argued out among its 1,870 members (by 1914). German architectural modernism was known as Neues Bauen . Beginning in June 1907, Peter Behrens ' pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for

3799-444: A sustainable, aesthetic and inclusive future. Sport and physical activity were an essential part of the original Bauhaus approach. Hannes Meyer, the second director of Bauhaus Dessau, ensured that one day a week was solely devoted to sport and gymnastics. 1 In 1930, Meyer employed two physical education teachers. The Bauhaus school even applied for public funds to enhance its playing field. The inclusion of sport and physical activity in

3930-509: A tool for creating an ideal form, which is the basis of the architectural concept. After Germany's defeat in World War I and the establishment of the Weimar Republic , a renewed liberal spirit allowed an upsurge of radical experimentation in all the arts, which had been suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed

4061-584: A tribal mask, turning the figure from beautiful to disturbing. Höch's work has been exhibited internationally in solo and group exhibitions. The Whitechapel Gallery in London presented a major exhibition of Höch's work from 15 January to 23 March 2014. This exhibition was composed of over one hundred works from international collections that Höch created from the 1910s to 1970s. Highlights included Staatshäupter (Heads of State) (1918–20), Hochfinanz (High Finance) (1923), Flucht (Flight) (1931), and many works from

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4192-524: A woman among their ranks. Hans Richter described Höch's contribution to the Dada movement as the "sandwiches, beer and coffee she managed somehow to conjure up despite the shortage of money." Raoul Hausmann even suggested that Höch get a job to support him financially, despite her being the only one from her close circle to have a stable income. On her exclusion and the sexism of the Dadaists, Höch responded, "None of these men were satisfied with just an ordinary woman. But neither were they included to abandon

4323-631: Is an excellent example of a piece that combines these three central themes in Höch's works: androgyny, the "New Woman" and political discourse. It combines images of political leaders with sports stars, mechanized images of the city, and Dada artists. "The New Woman of Weimar Germany was a sign of modernity and liberation" (Lavin). Women in Weimar Germany in theory had a new freedom to discover social, political, and self-definition—all areas heavily addressed by Höch. Despite this, there were still many issues with

4454-470: Is primarily watercolor and pencil. The images show individual figures without hair or defining features, in long gray shifts, filing across barren pastel landscapes. The Time of Suffering series is black and white but contains similar figures to the Death Dance series. The series, comprising two works titled Time of Suffering I and Time of Suffering II , shows the figures walking through a cemetery towards

4585-401: Is ready to take her place as man's equal. Her interest in the topic was in how the dichotomy was structured, as well as in who structures social roles. Other key themes in Höch's works were androgyny , political discourse , and shifting gender roles . These themes all interacted to create a feminist discourse surrounding Höch's works, which encouraged the liberation and agency of women during

4716-447: The Bauhaus ( German for 'building house'), was a German art school operational from 1919 to 1933 that combined crafts and the fine arts . The school became famous for its approach to design , which attempted to unify individual artistic vision with the principles of mass production and emphasis on function . Along with the doctrine of functionalism, the Bauhaus initiated

4847-723: The Aluminum City Terrace in New Kensington, Pennsylvania and the Alan I W Frank House in Pittsburgh. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson , I. M. Pei , Lawrence Halprin and Paul Rudolph , among many others. In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of

4978-777: The Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin . Meyer's approach was to research users' needs and scientifically develop the design solution. He intended to place emphasis on Gropius' objective analysis of the properties determining an object's use value, known as Wesensforschung . Gropius believed that it was possible to design exemplary products of universal validity that should be standardized. Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated

5109-711: The Grand-Ducal Saxon Academy of Fine Art and the Grand Ducal Saxon School of Arts and Crafts for a newly affiliated architecture department. Its roots lay in the arts and crafts school founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906, and directed by Belgian Art Nouveau architect Henry van de Velde . When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, Hermann Obrist , and August Endell as possible successors. In 1919, after delays caused by World War I and

5240-549: The Netherlands . Höch formed many influential friendships and professional relationships over the years with individuals such as Kurt Schwitters , Nelly van Doesburg , Theo van Doesburg , Sonia Delaunay , László Moholy-Nagy , and Piet Mondrian , among others. Höch, along with Hausmann, was one of the first pioneers of the art form that would come to be known as photomontage . Art historian Maria Makela has characterized Höch's affair with Raoul Hausmann as "Stormy", and identifies

5371-471: The Russian Revolution , such as constructivism . Such influences can be overstated: Gropius did not share these radical views, and said that Bauhaus was entirely apolitical. Just as important was the influence of the 19th-century English designer William Morris (1834–1896), who had argued that art should meet the needs of society and that there should be no distinction between form and function. Thus,

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5502-469: The Vorkurs and focused on the elements and principles of design plus colour theory and application. The founder of the school, Phyllis Shillito, which opened in 1962 and closed in 1980, firmly believed that "A student who has mastered the basic principles of design, can design anything from a dress to a kitchen stove". In Britain, largely under the influence of painter and teacher William Johnstone, Basic Design,

5633-541: The Vorkurs or "preliminary course" that was the introduction to the ideas of the Bauhaus. Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel . He was also 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 . The influence of German Expressionism favoured by Itten

5764-712: The Weissenhof Estate , films, and sometimes fierce public debate. The Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow , has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization and scope. The two schools were the first to train artist-designers in a modern manner. Both schools were state-sponsored initiatives to merge traditional craft with modern technology, with

5895-399: The (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But—they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men.” Höch

6026-533: The 1880s, which lead to an influx of cultural artifacts into Germany. Höch was inspired by the pedestals and masks present in the museums, and began incorporating them into her art. This piece is a photomontage, part of Höch's Ethnographic Museum Series, that mainly utilizes the photo of a pregnant, working class mother. Höch effaces the woman with a mask from the Kwakwakaʼwakw , or the Kwakuti Indian tribe, on

6157-460: The 1923 Haus am Horn , student architectural work amounted to un-built projects, interior finishes, and craft work like cabinets, chairs and pottery. In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for

6288-710: The 1930s by German Jewish architects who emigrated to the British Mandate of Palestine after the rise of the Nazis . Tel Aviv has the largest number of buildings in the Bauhaus/International Style of any city in the world. Preservation, documentation, and exhibitions have brought attention to Tel Aviv's collection of 1930s architecture. In 2003, the United Nations Educational, Scientific and Cultural Organization ( UNESCO ) proclaimed Tel Aviv's White City

6419-522: The Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for communists and social liberals. Indeed, when Meyer was fired in 1930, a number of communist students loyal to him moved to the Soviet Union . Even before the Nazis came to power, political pressure on Bauhaus had increased. The Nazi movement, from nearly

6550-431: The Bauhaus (a German art school) to a stop. They were not only offended by her aesthetic, but also by her political messages and by the mere fact that she was a woman. Her images portrayed androgynous individuals, which the Nazis despised. Nazi ideology appreciated artwork that portrayed the ideal Aryan German man and woman. The images Höch used often contrasted this look, or used it to make a point about society (such as in

6681-618: The Bauhaus aesthetic to America and taught at both Columbia University and Washington University in St. Louis . Herbert Bayer , sponsored by Paepcke, moved to Aspen , Colorado in support of Paepcke's Aspen projects at the Aspen Institute . In 1953, Max Bill , together with Inge Aicher-Scholl and Otl Aicher , founded the Ulm School of Design (German: Hochschule für Gestaltung – HfG Ulm) in Ulm, Germany,

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6812-551: The Bauhaus as a projection of utopia marked by mechanistic views of human nature…Home hygiene without home atmosphere." Subsequent examples which have continued the philosophy of the Bauhaus include Black Mountain College , Hochschule für Gestaltung in Ulm and Domaine de Boisbuchet. The White City ( Hebrew : העיר הלבנה)‎, refers to a collection of over 4,000 buildings built in the Bauhaus or International Style in Tel Aviv from

6943-446: The Bauhaus curriculum had various purposes. First, as Meyer put it, sport combatted a “one-sided emphasis on brainwork.” In addition, Bauhaus instructors believed that students could better express themselves if they actively experienced the space, rhythms and movements of the body. The Bauhaus approach also considered physical activity an important contributor to wellbeing and community spirit. Sport and physical activity were essential to

7074-421: The Bauhaus forms and shapes: simple geometric shapes like rectangles and spheres, without elaborate decorations. Buildings, furniture, and fonts often feature rounded corners, sometimes rounded walls, or curved chrome pipes. Some buildings are characterized by rectangular features, for example protruding balconies with flat, chunky railings facing the street, and long banks of windows. Some outlines can be defined as

7205-498: The Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar. This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1996 changed its name to Bauhaus-University Weimar . The Bauhaus moved to Dessau in 1925 and new facilities there were inaugurated in late 1926. Gropius's design for

7336-598: The Bauhaus style, also known as the International Style , was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. However, the most important influence on 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. The design innovations commonly associated with Gropius and

7467-510: The Bauhaus under Gropius in the early 1920s. In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution. Later evaluation of the Bauhaus design credo was critical of its flawed recognition of the human element, an acknowledgment of "the dated, unattractive aspects of

7598-490: The Bauhaus was its wallpaper. The physical plant at Dessau survived World War II and was operated as a design school with some architectural facilities by the German Democratic Republic . This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification , a reorganized school continued in the same building, with no essential continuity with

7729-483: The Bauhaus was the Sommerfeld House , which was built between 1920 and 1921. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky . From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten , who taught

7860-526: The Bauhaus' international architecture in the world. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For example, the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school and would not allow any supporters of Hannes Meyer to attend it. Several specific features are identified in

7991-456: The Bauhaus—the radically simplified forms, the rationality and functionality, and the idea that mass production was reconcilable with the individual artistic spirit—were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with

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8122-516: The Beer-Belly of the Weimar Republic symbolizes her cutting through the patriarchal society. The piece is a direct criticism of the failed attempt at democracy imposed by the Weimar Republic. Cut with the Kitchen Knife is "an explosive agglomeration of cut-up images, bang in the middle of the most well-known photograph of the seminal First International Dada Fair in 1920" (Hudson). This photomontage

8253-744: The Berlinische Galerie (6 September 2019 to 27 January 2020) presented 1,000 original artefacts from the Bauhaus-Archive's collection and recounted the history behind the objects. The Bauhaus Museum Dessau also opened in September 2019, operated by the Bauhaus Dessau Foundation and funded by the State of Saxony-Anhalt and the German Federal government. It is set to be the permanent home of

8384-518: The Dessau city council, it moved to close the school. In late 1932, Mies rented a derelict factory in Berlin (Birkbusch Street 49) to use as the new Bauhaus with his own money. The students and faculty rehabilitated the building, painting the interior white. The school operated for ten months without further interference from the Nazi Party. In 1933, the Gestapo closed down the Berlin school. Mies protested

8515-606: The Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the Völkisch Sommerfeld House. During the Dessau years, there was a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect Mart Stam to run

8646-740: The Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany"), a critique of Weimar Germany in 1919. This piece combines images from newspapers of the time mixed and re-created to make a new statement about life and art in the Dada movement. From an Ethnographic Museum (1929), one of Höch's most ambitious and highly political projects, is composed of twenty photomontages that depict images of European female bodies with images of African male bodies and masks from museum catalogues, creating collages that offer "the visual culture of two vastly separate civilizations as interchangeable—the modish European flapper loses none of her stylishness in immediate proximity to African tribal objects; likewise,

8777-511: The Műhely. Victor Vasarely , a pioneer of op art , studied at this school before establishing in Paris in 1930. Walter Gropius, Marcel Breuer , and Moholy-Nagy re-assembled in Britain during the mid-1930s and lived and worked in the Isokon housing development in Lawn Road in London before the war caught up with them. Gropius and Breuer went on to teach at the Harvard Graduate School of Design and worked together before their professional split. Their collaboration produced, among other projects,

8908-462: The Nazi censorship of art, and her work was deemed " degenerate art ", which made it even more difficult for her to show her works. Though her work was not acclaimed after the war as it had been before the rise of the Third Reich, she continued to produce her photomontages and exhibit them internationally until her death in 1978, in Berlin. Her house and garden can be visited at the annual Tag des offenen Denkmals . The 128th anniversary of her birthday

9039-415: The Nazis). The lips in the upper right corner show a feminine sexuality that is kept from the male gaze. (Lavin). For the viewer, the piece can provide the concept of a utopian moment that opposes gender-hierarchies. "Her androgynous images depict a pleasure in the movement between gender positions and a deliberate deconstruction of rigid masculine and feminine identities" (Lavin). These ideas were radical at

9170-436: The Northwest Coast. She pastes a woman's mouth over the bottom of the mask, and a single eye over one of the eye holes. The image is part of an ongoing critique by Höch of Paragraph 218, a law outlawing abortion in Germany at the time. Höch also executed two series around 1943, Death Dance and Time of Suffering . Death Dance consists of three works, titled Death Dance I, Death Dance II, and Death Dance III . This series

9301-408: The Weimar Republic (1919–1933) and continuing through to today. Hannah Höch was born Anna Therese Johanne Höch in Gotha , Germany. Although she attended school, domesticity took precedence in the Höch household. In 1904, Höch was taken out of the Höhere Töchterschule in Gotha to care for her youngest sibling, Marianne. In 1912 she began classes at the college of Applied Arts in Berlin under

9432-441: The applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-economic movement that had been going on at least since 1907, when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes. Gropius was not necessarily against Expressionism , and in

9563-463: The arts. Swiss painter Johannes Itten , German-American painter Lyonel Feininger , and German sculptor Gerhard Marcks , along with Gropius, comprised the faculty of the Bauhaus in 1919. By the following year their ranks had grown to include German painter, sculptor, and designer Oskar Schlemmer who headed the theatre workshop, and Swiss painter Paul Klee , joined in 1922 by Russian painter Wassily Kandinsky . The first major joint project completed by

9694-471: The artwork. The main artists involved in the movement include George Grosz , John Heartfield and Raoul Hausmann . Some claim that it was Höch's relationship with Hausmann that allowed her into the sphere of Dada artists. George Grosz and John Heartfield were against Höch exhibiting with them in the 1920 First International Dada Fair, and only allowed her participation after Raoul Hausmann argued for her inclusion. Hausmann, however, still attempted to deny Höch

9825-419: The attributed power of a man to a woman, as well as blur the lines of gender attributed actions. She also used historically feminine mediums such as embroidery and lace in her collages to highlight gendered associations. Höch also made strong statements on racial discrimination . Her most famous piece is Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands ("Cut with

9956-576: The centenary of the founding of Bauhaus, several events, festivals, and exhibitions were held around the world in 2019. The international opening festival at the Berlin Academy of the Arts from 16 to 24 January concentrated on "the presentation and production of pieces by contemporary artists, in which the aesthetic issues and experimental configurations of the Bauhaus artists continue to be inspiringly contagious". Original Bauhaus, The Centenary Exhibition at

10087-513: The central cause of their altercations—some of which ended in violence—in Hausmann's refusal to leave his wife. He reached the point of fantasizing about killing Höch. Hausmann continually disparaged Höch not only for her desire to marry him, which he described as a "Bourgeois" inclination, but also for her opinions on art. Hausmann's hypocritical stance on women's emancipation spurred Höch to write "a caustic short story" entitled "The Painter" in 1920,

10218-515: The chaos and combustion of Berlin's visual culture from the female perspective. In particular, her photomontages often critically addressed the Weimar New Woman, collating images from contemporary magazines. Her works from 1926 to 1935 often depicted same-sex couples, and women were once again a central theme in her work from 1963 to 1973. Her most often used technique was to fuse together male and female bodies. This fusion existed in order to give

10349-437: 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. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period. The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to

10480-665: The concepts of the Bauhaus to other countries, including the "New Bauhaus" of Chicago: Mies decided to emigrate to the United States for the directorship of the School of Architecture at the Armour Institute (now Illinois Institute of Technology ) in Chicago and to seek building commissions. The simple engineering-oriented functionalism of stripped-down modernism, however, did lead to some Bauhaus influences living on in Nazi Germany . When Hitler's chief engineer, Fritz Todt , began opening

10611-487: The conceptual understanding of architecture and design. The Bauhaus was founded by architect Walter Gropius in Weimar . It was grounded in the idea of creating a Gesamtkunstwerk ("comprehensive artwork") in which all the arts would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, modernist architecture , and architectural education. The Bauhaus movement had

10742-510: The decision, eventually speaking to the head of the Gestapo, who agreed to allow the school to re-open. However, shortly after receiving a letter permitting the opening of the Bauhaus, Mies and the other faculty agreed to voluntarily shut down the school. Although neither the Nazi Party nor Adolf Hitler had a cohesive architectural policy before they came to power in 1933, Nazi writers like Wilhelm Frick and Alfred Rosenberg had already labelled

10873-487: The domestic sphere which were considered appropriate for women. "The pattern designs Höch created for Ullstein's women's magazines and her early experiments with modernist abstraction were integrally related, blurring the boundaries between traditionally masculine and feminine modes of form and expression" (Makholm). She wrote a Manifesto of Modern Embroidery in 1918, which spoke to the modern woman, empowering her to take pride in her work. "She now drew on this experience and on

11004-546: The era of the Weimar Republic , "mannish women were both celebrated and castigated for breaking down traditional gender roles." In this artwork Hoch metaphorically equates her scissors, used to cut images or her collages, to the kitchen knife. This is used to symbolize cutting through the dominant domains of politics and public life in Weimer culture. Her androgynous characters may also have been related to her bisexuality and attraction to masculinity in women (that is, attraction to

11135-498: The female form paired with stereotypically masculine characteristics). Höch was a pioneer of the art form that became known as photomontage and of the Dada movement. Many of her pieces sardonically critiqued the mass culture beauty industry of the time, then gaining significant momentum in mass media through the rise of fashion and advertising photography. Many of her political works from the Dada period equated women's liberation with social and political revolution. Her work displays

11266-652: The guidance of glass designer Harold Bergen. She chose the curriculum in glass design and graphic arts, rather than fine arts, to please her father. In 1914, at the start of World War I , she left the school and returned home to Gotha to work with the Red Cross . In 1915 she returned to Berlin, where she entered the graphics class of Emil Orlik at the National Institute of the Museum of Arts and Crafts . Also in 1915, Höch began an intimate relationship with Raoul Hausmann ,

11397-497: The handicrafts department for the publisher Ullstein Verlag , designing dress, embroidery, lace, and handiwork designs for Die Dame (The Lady) and Die Praktische Berlinerin (The Practical Berlin Woman). The influence of this early work and training can be seen in a number of her collages made in the late 1910s and early- to mid-1920s in which she incorporated sewing patterns and needlework designs. From 1926 to 1929 she lived and worked in

11528-453: The images that served as raw material for her own work. She was also critical of the institution of marriage, often depicting brides as mannequins and children, reflecting the socially pervasive idea of women as incomplete people with little control over their lives. Höch worked for the magazine Ullstein Verlag between 1916 and 1926 in the department which focused on design patterns, handicrafts, knitting and embroidery, artistic forms within

11659-513: The industry. Weimar was in the German state of Thuringia , and the Bauhaus school received state support from the Social Democrat -controlled Thuringian state government. The school in Weimar experienced political pressure from conservative circles in Thuringian politics, increasingly so after 1923 as political tension rose. One condition placed on the Bauhaus in this new political environment

11790-565: The influence of William Morris and the British Arts and Crafts Movement , proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." Gropius's neologism Bauhaus references both building and the Bauhütte, a premodern guild of stonemasons. The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of

11921-572: The influential Philip Johnson , and became one of the world's pre-eminent architects. Moholy-Nagy also went to Chicago and founded the New Bauhaus school under the sponsorship of industrialist and philanthropist Walter Paepcke . This school became the Institute of Design , part of the Illinois Institute of Technology . Printmaker and painter Werner Drewes was also largely responsible for bringing

12052-404: The interdisciplinary Bauhaus movement that developed revolutionary ideas and continues to shape our environments today. People who were educated, or who taught or worked in other capacities, at the Bauhaus. Hannah H%C3%B6ch Höch's work was intended to dismantle the fable and dichotomy that existed in the concept of the " New Woman ": an energetic, professional, and androgynous woman, who

12183-461: The issue of gender and the figure of woman in modern society" (The Art Story). In these montages, Höch gathered images and text from popular forms of media, such as newspapers and magazines, and combined them in often uncanny ways, which were able to express her stances on the important social issues of her time. The fact that images she included in her pieces were pulled from current newspapers and magazines gave her messages validity. The power of

12314-487: The issues of the time. They attempted to push art to the limits of humanity and to convey the chaos in post-war (World War I, which did not yet have this title) Germany. "Many of Höch's overtly political photomontages caricatured the pretended socialism of the new republic and linked female liberation with leftist political revolution" (Lavin). Perhaps Höch's most well known piece Cut with the Kitchen Knife Dada through

12445-564: The latter, they created classes of pure photography at the Bauhaus school and evolved toward ever-greater objectivity in photography. The movement was formed mainly by young Russian Constructivists such as Alexander Rodchenko and the Bauhaus teachers László Moholy-Nagy and Walter Peterhans . Bauhaus students highly influenced by the Neues Sehen included Elsa Thiemann , Ivana Tomljenović-Meller , Iwao Yamawaki , Erich Consemüller and Andreas Feininger . Moholy-Nagy's wife, Lucia Moholy ,

12576-400: The matter-of-fact New Objectivity . An entire group of working architects, including Erich Mendelsohn , Bruno Taut and Hans Poelzig , turned away from fanciful experimentation and towards rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as

12707-462: The movement. Her work added "a wryly feminist note" to the Dadaist philosophy of disdain towards bourgeois society, but both her identity as a woman and her feminist subject matter contributed to her never being fully accepted by the male Dadaists. Like other Dada artists, Höch's work also came under close scrutiny by the Nazis as it was considered degenerate. The Nazis put her 1932 intended exhibition at

12838-481: The new autobahns (highways) in 1935, many of the bridges and service stations were "bold examples of modernism", and among those submitting designs was Mies van der Rohe. The paradox of the early 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. During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between

12969-670: The newly founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer. Meyer became director when Gropius resigned in February 1928, and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin . Meyer favoured measurements and calculations in his presentations to clients, along with

13100-516: The non-Western artifact is able to signify in some fundamental sense as ritual object despite its conflation with patently European features." Hoch created Dada Puppens (Dada Dolls) 1916. These dolls were influenced by Hugo Ball, the Zurich-based founder of Dada. The doll's costumes resembled the geometric forms of Ball's own costumes worn in seminal Dada performances. Dada was an inherently political movement; Dadaists often deployed satire to address

13231-459: The orientation of the school further to the left than it had been under Gropius, he didn't want the school to become a tool of left-wing party politics. He 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. Dessau mayor Fritz Hesse fired him in the summer of 1930. The Dessau city council attempted to convince Gropius to return as head of

13362-691: The output of his architectural office and the school. The built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena , and the competition design for the Chicago Tribune Tower , which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to

13493-485: The photographic associations that were striving to preserve painterly models, accusing them of being unsubstantial, of having a narrow outlook limited to their own assumptions, and of producing images that were unattractive and removed from reality. But Neues Sehen was also criticised by the defenders of straight photography and New Objectivity for being too experimental, inconsistent, and producing amateur photography of poor technical standards. To defend themselves against

13624-518: The photographic image. The works are usually didactic since they force the viewer to confront images that are not easily recognisable as elements of reality. Consequently, these are works of uneven quality and experimental nature. The exhibition FIFO, organised in 1929 by the Deutscher Werkbund in Stuttgart , is considered the first great exhibition of modern European and American photography. It

13755-543: The piece "the Beautiful Girl"). The Nazis preferred a traditional clear rational style of artwork that did not require deep thought or analysis. They felt that the chaos of the Dada style bordered on pathological. Höch went into seclusion during the Nazi years and was later able to return to the art world after the fall of the Third Reich. "Höch's photomontages display the chaos and combustion of Berlin's visual culture from

13886-421: The role of government, and to reject militarism after seeing the atrocities of war. Many Dada pieces were critical of the Weimar Republic and its failed attempt at creating a democracy in post-war (WWI) Germany. The Dada movement had a tone of fundamental negativity in regards to bourgeois society. The term "dada" has no actual meaning – it is a childlike word used to describe the lack of reason or logic in much of

14017-509: The same 1919 pamphlet proclaiming this "new guild of craftsmen, without the class snobbery", described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923, however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the " Völkisch movement ", instead declaring "we want an architecture adapted to our world of machines, radios and fast cars." Gropius argued that

14148-464: The school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism. Internationally, former key figures of Bauhaus were successful in the United States and became known as the avant-garde for the International Style . The White city of Tel Aviv to which numerous Jewish Bauhaus architects emigrated, has the highest concentration of

14279-500: The school, but Gropius instead suggested Ludwig Mies van der Rohe . Mies was appointed in 1930 and immediately interviewed each student, dismissing those that he deemed uncommitted. He 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 . By 1931, the Nazi Party was becoming more influential in German politics. When it gained control of

14410-524: The school. They also responded to the promise "to promote the object of assuring to every German a healthful habitation" written into the new Weimar Constitution (Article 155). Ernst May , Bruno Taut and Martin Wagner , among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like

14541-475: The second largest Bauhaus collection at 49,000 objects, while paying homage to its strong influence in the city when Bauhaus arrived in 1925. In 2024, the German far-right party Alternative for Germany (AfG) sought to attack celebrations of Bauhaus because of their view that Bauhaus did not follow tradition. Bauhaus was also crushed by the Nazi's before World War II, and according to political scientist Jan-Werner Mueller, AfG's condemnation seeks to use it in

14672-406: The socioeconomic status of women. Women were given more freedom, yet in a way that seemed to be predetermined for them. They were still restricted to certain jobs and had the less employment benefits than their male counterparts. Analysis of Höch's piece Beautiful Woman shows the construction of the archetype of the "New Woman". The piece combines motifs of the ideal feminine woman with car parts. In

14803-518: The start, denounced the Bauhaus for its " degenerate art ", and the Nazi regime was determined to crack down on what it saw as the foreign, probably Jewish, influences of "cosmopolitan modernism". Despite Gropius's protestations that as a war veteran and a patriot his work had no subversive political intent, the Berlin Bauhaus was pressured to close in April 1933. Emigrants did succeed, however, in spreading

14934-554: The subject of which is "an artist who is thrown into an intense spiritual crisis when his wife asks him to do the dishes." Hausmann repeatedly implied that the only way Höch could reach full potential, as a woman and in their relationship, was to have a child with him. Höch herself wanted children, but both times she found she was pregnant with Hausmann's child, in May 1916 and January 1918, she had an abortion. Höch ended her seven-year relationship with Raoul Hausmann in 1922. In 1926, she began

15065-534: The time when Höch raised them, but are still in the process of being addressed today. Androgyny can be viewed as a utopian ideal in Höch's works; in addition it relates to some of the radical leftist ideas in her works and the political discourse surrounding them. Höch created an expansive series of works titled the Ethnographic Museum Series after a visit to an ethnographic museum. Germany had begun colonial expansion into African and Oceanic territories by

15196-401: The two schools, while Hinnerk Scheper of the Bauhaus collaborated with various Vkhutein members on the use of colour in architecture. In addition, El Lissitzky 's book Russia: an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there. The school was founded by Walter Gropius in Weimar on 1 April 1919, as a merger of

15327-425: The upper right corner there is a woman's face with the eyes of a cat. Along with industrialization comes the opportunity for women to be more involved in the workforce. While this opportunity was exciting for women, it was also frightening—symbolized by the cat eyes staring down at the image. This image shows that although women were excited about the idea of the "New Woman" and the freedom this lifestyle might bring, it

15458-436: The use of off-the-shelf architectural components to reduce costs. This approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929. But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program and forced the resignations of Herbert Bayer , Marcel Breuer , and other long-time instructors. Even though Meyer shifted

15589-492: The use of photomontage, etc. After seeing the exhibition, the critic Franz Roh wrote an essay entitled Foto-Auge (Photo-eye), asserting that photography had changed in a definitive manner. In the same year, the exhibition travelled to Zurich, Berlin, Danzig and Vienna, and in 1931 it was presented in Tokyo and Osaka. Bauhaus The Staatliches Bauhaus ( German: [ˈʃtaːtlɪçəs ˈbaʊˌhaʊs] ), commonly known as

15720-405: The visual arts in general, and can be considered the culmination of experimental production realised with these media. In Germany it was seen as a retrospective of these fields before the rigid aesthetics of the Nazi regime were imposed. The selection of works was made by several well known figures including Moholy-Nagy, who was one of the selectors for European photography, and Edward Weston , who

15851-424: The works came from the intentional dismemberment and reconstruction of the images. This alludes to the notion that current issues can be viewed through different lenses. This technique was originally thought of as extremely leftist and revolutionary, but by the 1930s, it had become an accepted mode of design linked with modernity and consumerism. Thus began the notion that mass culture and fine arts could be combined in

15982-415: Was a freedom that was still constructed by men, who still had most of the power in society. This piece alludes to an ambiguous sexual identity of the subject. The image depicts two men looking upward at a pair of legs clad in stockings with high heels atop a pedestal. This pedestal symbolizes traditionalism, while the legs show sexuality triumphing over classical architecture (which would have been revered by

16113-404: Was also a noted Neues Sehen photographer. Their stylistic resources included unexpected angles, experimenting with light and shadows to produce large dark areas in the photograph, the use of photomontage and collage , and photographic composition according to the strict principles of perception of the Bauhaus. Creativity was more developed in the subject matter and in the new way of interpreting

16244-483: Was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1923. Itten was replaced by the Hungarian designer László Moholy-Nagy , who rewrote the Vorkurs with a leaning towards the New Objectivity favoured by Gropius, which was analogous in some ways to

16375-520: Was commemorated on 1 November 2017 by a Google Doodle . Dada was an artistic movement formed in 1916 in Zurich, Switzerland. The movement rejected monarchy, militarism, and conservatism and was enmeshed in an "anti-art" sentiment. Dadaists felt that art should have no boundaries or restrictions and that it can be whimsical and playful. These sentiments arose after the Great War, which caused society to question

16506-502: Was in charge of the American section. Artists included Berenice Abbott , Willi Baumeister , Marcel Duchamp , Hein Gorny , Hannah Höch , Eugène Atget , Man Ray , Alexander Rodchenko, Edward Steichen , Imogen Cunningham , Charles Sheeler and Brett Weston , among others. The selected works were characterised by unexpected angles, such as the photographs taken by Willi Ruge from a parachute,

16637-480: Was seen as a showcase for the artistic ideas of the New Vision. Shortly before the opening, in the autumn of 1928, László Moholy-Nagy and Sigfried Giedion , who were in charge of the main room in the exhibition, introduced a change in the initial programme and turned it into a representation of the New Vision. The exhibition included 1,200 works by 191 artists belonging to the fields of cinema, painting, photography and

16768-480: Was significant. One of the main objectives of the Bauhaus was to unify art, craft, and technology, and this approach was incorporated into the curriculum of the Bauhaus. The structure of the Bauhaus Vorkurs (preliminary course) reflected a pragmatic approach to integrating theory and application. In their first year, students learnt the basic elements and principles of design and colour theory, and experimented with

16899-524: Was the Bauhaus contemporaries Bruno Taut , Hans Poelzig and particularly Ernst May , as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany . The housing Taut built in south-west Berlin during the 1920s, close to the U-Bahn stop Onkel Toms Hütte , is still occupied. The Bauhaus had

17030-456: Was the exhibition of work undertaken at the school. This condition was met in 1923 with the Bauhaus' exhibition of the experimental Haus am Horn . The Ministry of Education placed the staff on six-month contracts and cut the school's funding in half. The Bauhaus issued a press release on 26 December 1924, setting the closure of the school for the end of March 1925. At this point it had already been looking for alternative sources of funding. After

17161-443: Was the lone woman among the Berlin Dada group, although Sophie Taeuber , Beatrice Wood , and Baroness Else von Freytag-Loringhoven were also important, if overlooked, Dada figures. Höch references the hypocrisy of the Berlin Dada group and German society as a whole in her photomontage, Da-Dandy. Höch also wrote about the hypocrisy of men in the Dada movement in her short essay "The Painter", published in 1920, in which she portrays

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