Wera Meyer-Waldeck and the sanding block. Everyday life in the Bauhaus carpentry workshop in Dessau, the student works with force on your workpiece. The photo of your classmate Gertrud Arndt shot. Two women, two paths: With an architect diploma in the bag Meyer-Waldeck, in 1932, leaving the school under Mies van der Rohe, signed by Ludwig. She had managed to make it to your carpenter journeyman in fact, in the male-dominated industry “construction planning”. Not as Gertrud Arndt, a desire to be a Professional architect. She ended up reluctantly in the weaving class, like most of the Bauhaus members on the inside. “The many threads…!”, moaned the young woman.
Whether at the loom or the camera lens, typewriter, or Potter’s wheel: women shaped the face of the Bauhaus. But they were not easy between their male colleagues, superiors and partners. Old-fashioned misogynistic structures were stuck in the heads, and also in the own. But the old models of Action have now been redefined – just like the traditional styles, design methods and art forms. Everything is new! “Nothing-Inflammatory is in my outer life, I can me to make, as I want to …, hardly any barrel I order it,” cheered the first semesterin Gunta Stölzl in 1919.
Gunta Stölzl took over the management of the weaving mill
in the first Year 84 student wrote on the inside in addition to 79 students. Founding Director Gropius sounded: “No differences between the beautiful and the strong gender. Absolute Equality Of Rights.“ He wanted to be a radical departure in every way. In addition, the equality of man and woman enshrined in the Weimar Constitution recently. With the enormous female rush, he had not expected, however. The most riege rowed behind the Scenes. Gropius recommended that in the future, “sharp separation, especially in the case of the number occurring in female sex.” The women’s quota is decreased and fluctuating about a third. In management positions, a Bauhäuslerin on advanced. With the exception of Gunta Stölzl.
she took over the management of the weaving, which has been in place since the 1920’s as a women-only class. Energetic and adventurous Stölzl, with your comrades-in-arms, the hand weaving and the industry to modernize the design. Test series, basic research, mastery of Material: Many of the pupils to put what they learned later in the German and international textile companies. Ironically, the woman niche weaving proved himself early on as one of the economically most successful branches of the Bauhaus, a matter of survival for the cash-strapped Institute. The brightly-colored wall carpets and durable upholstery fabrics were in demand. Marcel Breuer’s tubular steel chairs would not work without your brilliant covering, neither aesthetically nor practically.
One of the most famous Bauhaus-alumni Anni Albers, who was in exile in the US as a textile artist and design lecturer. Education talent, Benita Koch-Otte brought their Bauhaus experience in the disabled workshops in Bethel. The colourful dish towels Kitty van der Mijll-Dekkers hang to this day in Holland kitchens. But in the creative pool weaving there was also trouble. After a bullying campaign with anti-Semitic undertones Director Stölzl in 1931 announced. A your against game was Grete Reichardt, and later in the GDR, for their imaginative tapestries are highly revered. After 1933, many Bauhaus members went into exile. Some made their career in the service of the national socialists. The Jew taught Friedl Dicker from Vienna in 1942 in the concentration camp of Theresienstadt children in the Painting to give you a Moment of freedom. Their methods were those of the Bauhaus Preliminary course.
It was whispered, kissed, and married
most of The women who came to the Bauhaus, brought a solid arts studies and often work experience. You were motivated. But fun you wanted to have. The American Bauhaus student Lotte Gerson reinforced with your saxophone, the Bauhaus-Kapelle. Bauhaus is also a party zone and an experimental field for the relationship boxes. It was flirting and arguing, joking and talking, smooching and married. 71 Bauhaus-marriages is one of the chronicle. Ise Gropius, earned her the nickname “woman of the Bauhaus” as a journalist, Manager, lecturer and PR Department of the congested heads. Even in American exile, she made together with Gropius for the posthumous fame. Lucia Moholy-Nagy’s photographs of the Bauhaus buildings, products and faces were right to do so. The author was exploited and ignored. For decades, the photographer and wife of Bauhaus master Laszlo Moholy-Nagy struggled, allegedly on the run lost Negative back.
Hardly known to be one of the most influential figures of the expressionist Weimar’s early years: Gertrud Grunow. The musician was nearly fifty, as Itten and Gropius in 1919 dedicated. Your holistic experimental teaching, called “Practical theory of Harmonisation”, has inspired many. Exercises color and light Grunow worked to bring the nervous individualists to the psycho-physical balance: “Dance the color Blue!” Later in Dessau, the Bauhaus umsteuerte in the direction of technology and industry, joined a young gym teacher with short hair cut and athletic vigor to your body. Karla Grosch trained with the Bauhaus staff on the flat roof of the school jump in the air. She was also cast in the ideal, in Oskar Schlemmer’s bulky stage Bauhaus dances costumes to perform. 462 women studied at the Bauhaus. The photographer Florence Henri, the Japanese textile specialist Michiko Yamawaki, and Marianne Brandt, designed in the Bauhaus teapots: What they have in common? Nothing. Except that they were women and for a tiny span of your life at a school learned, the radiated hope, to make all things new and different.
More about
100 years of Bauhaus “utopia
Linda Buchholz
book recommendation: Patrick Rössler & Elizabeth Otto: “women at the Bauhaus Can”. Ground-breaking artists of the Modern age“, Knesebeck Verlag, Munich, 2019, EUR 35
