The Bauhaus was not just seen as a teaching mechanism for art but it was also seen as a way of communicating a new way of life, especially during the Weimar stages of German history when contextually, society was a lot more experimental than it would be within the next ten years when Hitler and the Nazi's would consolidate power over the country. The Nationalistic party arguably saw the architecture as 'un-German' and a communistic force therefore, leading to its closure by the Gestapo in 1933. However, before the new conservative control took place and the idealistic building was still open, the Bauhaus was classified as one of the most celebrated art schools in the world and seen as a way of establishing a minimalistic and simplistic approaches to art. Furthermore, arguably it was also a way of brainwashing the new generation with a new ideology based on how the world should be seen and how art should meet the needs of society. Another aim of the Bauhaus was to seek a harmony between an object or building and its design.
The Bauhaus
Marcel Breuer
Marcel Breuer (1902-1981) is just one designer during this period who was inspired by this minimalism in art and invented the first Cantilever light weight chair which was strangely inspired by the steel tubes of his bicycle. The invention went on to be massively produced over Germany and was the first chair which was not supported on four legs and instead, was supported by metal that curved into the shape of an L.
One of Marcel Breuer's chair designs in 1928
Many designs that were thought of during the stages of the Bauhaus have also continued throughout the creative industry up until today, such as the design of road signs, the structure of interior furniture, graphic designs, and even the architecture of buildings in order to reform the skylines of different cities on an international level. The main intention of the Bauhaus was to explore the different ways of establishing and evolving home interiors and architectures in a modern and imaginative fashion and has had an effect on the way we interior our homes ever since.
Other German influences during the Weimar Era of Germany
During the 1920's Germany saw a flourishing of cultural experimentation and a freer atmosphere occur among society. Even the roles of both men and women were becoming a lot more diverse in terms of their careers and aspirations due to the increase of artistic influences in this period. Therefore, particularly the expectations of the identity of women was transforming drastically and they were starting to be seen as less subordinate in society and not so conservative. Although at this point in the 20th century, many rural areas were still very traditional. However, in larger urban areas where the Bauhaus' were built, values were a lot more liberal and tolerant.
Otto Dix, Portrait of the Journalist Sylvia von Harden, 1926 (Left)
Photograph taking of Sylvia von Harden in the 20s (Right)
Furthermore, artists such as George Grosz and Otto Dix were producing work that reflected on the impacts of the First World War.
'Der Krieg' by Otto Dix in 1924
Max Ernst also created influential work during this period and was a pioneer of the Dada movement and Surrealism.
Woman, old man and flower (1923)
In music, American Jazz became very popular and began to influence the sound of German popular music, especially in Berlin's jazz scene. Jazz artists such as clarinettist and saxophonist Eric Borchard were starting to make more and more music in Germany after the recording of 'Tiger Rag' (the most recorded jazz compositions of all time) in 1917.
By 1930, artists such as Louis Armstrong and Duke Ellington became popular with German audiences.
In literature, Erich Maria Remarque's All Quiet on the Western Front (1929) studied the traumatic experiences of the world war but used it as a way to channel this new vision of creativity.
In cinema, Germany was leading in the film industry during the 20s and expressionist works such as Fritz Lang 'Metropolis' (1927) was extremely influential for painting a new picture of the functions and hierarchy within society. I was actually extremely lucky to see some of the props from this film at the 'Museum für Film und Fernsehen' in Berlin whilst I inter-railed across Europe during the summer. To see more about my experience at the Museum für Film und Fernsehen with the 'Metropolis' exhibit, take a look at 'My Trip Across Europe 2015' blog post.
The New Tower of Babel, Fredersen's headquarters in Metropolis
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