Scope and Content of Collection
Title: Bauhaus student work
Date (inclusive): 1919-1933
7.0 linear feet
(14 boxes, 11 flat file folders)
The Getty Research Institute
1200 Getty Center Drive, Suite 1100
Los Angeles, California, 90049-1688
A comprehensive collection of photographs, records, notebooks, drawings, prints, manuscripts, and other materials documenting
student coursework, assignments, projects, and activities at the Bauhaus (ca. 1919-1933). Includes some work by Bauhaus professors.
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The Bauhaus was founded in 1919 by the architect Walter Gropius as a school of art, architecture, crafts, and theater, with
the focus of instruction on the unity of art and technology. Gropius led the Bauhaus until 1928, when he named Hannes Meyer
as his successor. Mies van der Rohe replaced Meyer in 1930. The Bauhaus began in Weimar, moved to Dessau in 1925, and closed
in 1932. Attempts to revive the school were made in Berlin in 1933 and Chicago in 1937.
The mission of the Bauhaus was to provide courses in the combined constructive arts and crafts. Gropius' goal was to bridge
the divide between fine and applied arts, and he envisioned the Bauhaus as a fulfillment of his ideal of a medieval craft
guild, where artists and craftsmen worked in unison. Workshops were offered in carpentry, weaving, pottery, and glass-, wall-,
and stage painting. Students, known as apprentices or journeymen, were enrolled in specific workshops, which were originally
taught by pairs of professors: a Formmeister, a teacher of fine arts, and a Werkstattmeister, a craftsman. After the move
to Dessau, the Werkstattmeister became subordinate to the Formmeister, and later workshops were taught by only one professor.
Several students continued on at the Bauhaus as professors or workshop masters, including Gunta Stölzl, Margarete Willers,
Otti Berger, Josef Albers, Marcel Breuer, Herbert Bayer, and Joost Schmidt. Every student was required to take the Grundkurs,
which was directed by Johannes Itten, assisted by Paul Klee and Wassily Kandinsky from 1919 to 1923, and later led by Laszlo
Moholy-Nagy (1923-1928), and Josef Albers (1928-1932).
The watershed event of the Weimar years was the "Bauhaus Week" held in August, 1923. Exhibits were presented, as well as stagings
of Oskar Schlemmers' "Triadic Ballet." Gropius' opening address," Art and Technology - an new unity," announced a change in
Bauhaus ideology from the fusion of art and craft to art and industry.
After the move to Dessau, workshops for stained glass and pottery were ended, cabinetmaking and metal were combined into one
workshop, and Kandinsky began a "free painting" workshop. The Dessau buildings, designed by Gropius and built 1925-1926, became
a manifestation for many of Bauhaus philosophy, teaching and design.
Gropius' successor Hannes Meyer expanded upon his vision of forming closer alliances between the art and industry. Bauhaus
weavers designed carpets which were mass-produced by manufacturers, and Bauhaus artists had their wallpaper designs sold in
department stores. These efforts enriched the school and allowed them to accept more underprivileged students. Meyer also
established a department of architecture and introduced photography to the curriculum. Painting was not encouraged, and Schlemmer
left the Bauhaus in 1929 and Klee departed in 1931. Many of the faculty members and students resisted Meyer's rationalism
and Marxism, and Laszlo Moholy-Nagy, Marcel Breuer and Herbert Bayer resigned in 1928 in protest over his appointment.
In 1930, a coup against Meyer replaced him with Mies van der Rohe. Mies introduced more discipline to the workshops, and the
Bauhaus developed into a fairly conventional school of architecture. The metal/cabinetmaking workshop and wall painting workshop
were merged into a singular interior design workshop. Nazi pressure on the school increased after the National Socialists
gained control of the Dessau parliament, and the school closed at the end of 1932. Mies van der Rohe attempted to revive the
school in 1933, but the incarnation was short-lived. Many Bauhaus professors, including Josef Albers, Marcel Breuer, and Mies
van der Rohe, moved to America.
Open for use by qualified researchers.
Bauhaus student work, 1919-1933, The Getty Research Institute, Los Angeles, Accession no. 850514.
The Bauhaus student work collection was assembled from several acquisitions acquired between 1984 and 1990. Items were moved
from: Special Collections accession nos. 840009; 840052; 840053; 850024; 850138-850142; 850171; 850926; 860337; 860973A; 870213;
870381; 870383; 870581; 870649; 880104; 880220; 880404; 900010.
Preliminary processing was completed by April, 1995. Hillary Brown processed, rearranged and described this collection in
1997. She wrote this finding aid in May 1997.
Material was moved to the following collections within Special Collections: Schmidt, accn. no. 880383A; Stölzl, accn. no.
880373B; Moholy-Nagy, accn. no. 890013; Schwitters accn. no. 890014; Schreyer, accn. no. 900046; Itten, accn. no. 900047;
Meyer, accn. no. 900048; Breuer, accn. no. 900049; Gropius, accn. no. 900058; Hözel, accn. no. 900070; Hubsch, accn. no. 900078;
Bauhaus photography, accn. no. 900079.
Scope and Content of Collection
A comprehensive assembled collection representing the variety of assignments given to students at the Bauhaus in Weimar (1919-1925),
Dessau (1925-1932), and Berlin (1932-1933). The collection includes designs by students, photographs of artworks and activities,
This collection contains a few works by professors as well as notebooks kept by students of their courses. There are very
few personal items in this collection.
Media in the collection include drawings (pencil, pen and ink, watercolor, charcoal, etc.), photographs, glass negatives,
printed matter, holograph and typescript manuscripts, blueprints, and textile samples.
The papers are organized in 12 series according to the workshop for which the items were produced:
Series I. Preliminary course, 1919-1931, n.d.;
Series II. Woodworking, 1921-1922;
Series III. Cabinetmaking, 1921-1932, n.d.;
Series IV. Metal, 1925-1927, n.d.;
Series V. Ceramics, 1922-1923, n.d.;
Series VI. Weaving, 1922-1930, n.d.;
Series VII. Printing and typography, 1927-1930, n.d.;
Series VIII. Theater, 1926-1930, n.d.;
Series IX. Drawing, 1922-1930, n.d.;
Series X. Painting, n.d.;
Series XI. Photography, 1922-1923, n.d.;
Series XII. Architecture, 1925-1933, n.d.
Subjects - Names
Schlemmer, Oskar, 1888-1943
Subjects - Corporate Bodies
Subjects - Topics
Architecture-Study and teaching
Art, German--20th century
Art--Study and teaching
Color in art
Drawing, German--20th century
Genres and Forms of Material
Architectural drawings--20th century
Drawings (visual works)--20th century
Glass negatives--20th century
Photographic prints--20th century
Berger, Otti, 1898-1944
Bill, Max, 1908-1994
Consemüller, Erich, 1902-1957
Hartogh, Rudolf Franz, 1889-1960
Hassenpflug, Gustav, 1907-1977
Haupt, Karl Hermann
Hölzel, Adolf, 1853-1934
Itten, Johannes, 1888-1967
Kampt, K. H.
Kandinsky, Wassily, 1866-1944
Klee, Paul, 1879-1940
Lindig, Otto, 1895-1966
Meyer, Hannes, 1889-1954
Mies van der Rohe, Ludwig, 1886-1969
Moholy-Nagy, László, 1895-1946
Ortner, Rudolf, 1912-1997
Renger-Patzsch, Albert, 1897-1966
Schlemmer, Oskar, 1888-1943
Schmidt, Joost, 1893-1948
Weber, Vincent, 1902-1990