Documenti di Didattica
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Documenti di Cultura
OriginsandInfluences
JuliaE.Benson
TEXT6910
FallSemester,2003
Copyright2003
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TableofContents
Introduction...........................................................................................................4
PrecursorsandEarlyInfluences.........................................................................5
TheArtsandCraftsPeriod...............................................................................5
GermanExpressionismDieBlauReiter......................................................6
TheWienerWerksttte,19101932..................................................................7
TheWeavingWorkshop19191933.....................................................................8
Weimar.............................................................................................................10
Dessau..............................................................................................................11
BauhausWeaversAftertheBauhaus...............................................................13
AnniAlbers(18991994)...............................................................................16
MarliEhrman(19041982).............................................................................17
TrudeGuermonprez(19101976)................................................................18
GuntaStlzl(18971983)..............................................................................20
InfluencesonLaterGenerations.......................................................................20
JackLenorLarsen(1927)............................................................................21
DorothyLiebes(18991972)...........................................................................22
LoreKaddenLindenfeld(1902)..................................................................23
ElseRegensteiner(19062003)....................................................................23
KaySekimachi(1926)...................................................................................25
AngeloTesta(19181984)..............................................................................25
WhereistheBauhausToday?..........................................................................26
Museumcollections........................................................................................26
VorwerkTeppichwerkecarpets.....................................................................27
GuntaStlzlDesignsbyChristopherFarrGalleries...................................28
AnniAlbers'loom............................................................................................29
Bibliography........................................................................................................31
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Introduction
TheBauhaus,despiteitsshortphysicalexistenceinWeimar(19191925)and
Dessau(19251933),Germany,producedoneofthemostinfluentialdesignmovements
ofthe20thcentury.AlthoughtheBauhausmovementisbestknownforitscontributions
tomidandlate20thcenturyarchitectureinthepersonaeofWalterGropius,Miesvander
Roheandothers,theWeavingWorkshopoftheBauhausbecameamajorinfluenceon
textiledesigningeneral,andweavingdesigninparticular,throughouttheremainderof
the20thcenturyandonintothe21stcentury.
AttheestablishmentoftheBauhaus,studentsweretobeadmittedtoworkshops
withoutregardtogender.However,becauseoftheunexpectedlylargenumberofwomen
whoappliedasstudents,thesegregationofwomenintothePottery,Bookbinding,and
WeavingWorkshopswassoonrecommended.TheheadofthePotteryWorkshop,
GerhardMarcks,wasunwillingtoacceptwomenintothatarea,andtheBookbinding
Workshoponlylasteduntil1922,leavingonlytheWeavingWorkshopasahomeforthe
femaleBauhausstudents.
TheWeavingWorkshopoftheBauhaus,assomewhatofafemaleghetto,had
manyprejudicesandmisconceptionstoovercomeduringitsexistence.Mostofthe
foremostpaintersandotherartistsoftheday,includingthosewhowereintimately
involvedwiththeeducationoftheBauhausweavingstudents,regardedweavingwasas
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lessthanrealartandwomenasincapableofworkinginareasregardedasmore
demanding,suchaspainting,metalwork,andsculpture.AlthoughmostBauhauswomen
studentswereshuntedintotheWeavingWorkshop,theyfirstattendedthesamebasic
courseasthemalestudentsandlearnedthesametheoryanddesignprinciplesfromsome
ofthemostnotedartistsoftheirtime.Furthermore,althoughtheWeavingWorkshop
wasregardedasinferiorartistically,itwasinfactthefirstworkshopabletopayitsown
waythroughtheproductionofitsstudents,inkeepingwiththeBauhausgoalofachieving
financialautonomythroughitsownefforts.
ThegeneralhistoryoftheBauhaus,aswellasthepoliticalandsocialinfluences
bothinternalandexternal,iswelldocumentedbymanysources.Therefore,thispaper
focusesontheartisticanddesignaspectsoftheBauhausmovementasreflectedintextile
design,specificallytheproductsandpeopleoftheWeavingWorkshop.
PrecursorsandEarlyInfluences
TheArtsandCraftsPeriod
Artistically,theBauhausmovement'sroots,atleastfromaphilosophicalpointof
view,tracebacktotheArtsandCraftsmovementthatbeganinEnglandinthemid1800s
andspreadtotheUnitedStateslateinthenineteenthcentury.Thismovementbeganasa
reactiontothenegativesocialeffectsoftheIndustrialRevolution,andgrewintoa
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backlashagainsttheexcessiveornamentationinhouseholdfurnishingsandarchitecture
oftheVictorianera.WheretheIndustrialRevolutionhaddivorceddesignfrom
production,artistfromproducer,theArtsandCraftsmovementattemptedtoreconcile
thisseparationofdesignandcraftsmanship.Thisintegrationofartandcraftbecamea
primarytenetoftheBauhausphilosophy,thoughwithoutdenyingthevaluableroleofthe
machineinproduction.
ThoughWilliamMorrisistheartistmostcloselyassociatedwiththeEnglish
versionofArtsandCrafts,hisworkstillreflectsthesensibilitiesofVictorianeradesign.
IfinsteadwelooktotheUnitedStates,itiseasytoseemanysimilaritiesbetweenthe
worksofseveraloftheseminalproponentsoftheArtsandCraftsmovementinAmerica
andthetextiledesignsoftheBauhausinGermany.ThearchitectureofFrankLloyd
WrightandtheMissionfurnitureofGustavStickleysharethesamepurityoflineand
formandthesameemphasisonfunctionthattheBauhaus,particularlyinitslateryearsin
Dessau,espoused.Infact,Wright'svisittotheAcademyofArtinBerlinin1910clearly
impressedayoungWalterGropius,founderoftheBauhaus.
GermanExpressionismDerBlaueReiter
TheotherprimarymovementoutofwhichtheBauhausgrewwasExpressionism,
theGermanartmovementthatgrewoutofPostImpressionism.LiketheFauvesof
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France,theirprimaryinterestwasintheexpressiveuseofcolortoconveyemotion,
mood,andmessage.Realisticportrayalofsubjectmatterwasasecondaryconcernatbest,
andoftendismissedentirely.
OneofthetwomostprominentgroupsatthecoreofGermanExpressionismwas
DerBlaueReiter("TheBlueRider"),formedinMunichin1911andfocusedonnon
figurativeabstraction.FromthisgroupwouldcomeoneoftheBauhaus'smostprominent
associatesandteachers,RussianartistWassilyKandinsky.
JohannesIttenandPaulKlee,thoughnotdirectlyassociatedwithDerBlaue
Reiter,werebothassociatedwiththeExpressionistmovementearlyintheirartistic
careers.BythetimetheBauhauswasestablished,bothKleeandIttenhadwell
establishedreputationsaspaintersknownforinnovativeuseofcoloranddesign,andboth
menbecameprimaryfactorsinattractingstudentstotheBauhaus.
TheWienerWerksttte,19031932
TheBauhauswasnotthefirstEuropeaninstitutiontojoinartandcraftintoa
singleentity.TheWienerWerksttte,whichexistedinVienna,Austriafrom1903to
1932,beganasanassociationofartistcraftsmeninvariousdisciplines.Itsintentfromthe
beginningwastoproduceproductswhichwerebothaestheticallypleasingandwell
crafted,distinguishingthemfrompoorlydesignedmassproducedobjectsontheone
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handandconventionalhandicraftsontheother.ThetextiledepartmentattheWiener
Werkstttewasestablishedin1910,thoughfabricproductionmayhaveactuallybegun
beforethattime.
TheprimaryinfluenceontheWienerWerkstttefabricdesignsatfirstwastheArt
NouveaumovementfromEnglandandScotland.Probablyduetotheinfluenceofthe
GermanExpressionistartmovement,whichpushedartfromrealismintoabstraction,this
stylewasquitesoonrejected,andtheWienerWerkstttefabricdesignsmovedintoa
freeformgeometricabstractionakintoArtDeco.
ThoughtherearesimilaritiesinthedesignstylesoftheWienerWerkstttefabrics
andtheBauhaustextiles,theyarefarfromidentical.WhereasmostoftheBauhaus
textilesweredesignedforweaving,thevastmajorityoftheWienerWerkstttefabrics
wereprinted.Ontheonehand,thisallowedagreaterflexibilityindesign,allowedthose
designstobereproducedinmultiplecolorschemesandwithlesshardedgedcoloreffects
thancanbeachievedinweaving.Ontheotherhanditprovidedagreattemptationallow
adesigntolapseintodecorationfordecoration'ssake.TheWienerWerkstttenever
emphasizedfunctionalityinthewaytheBauhausdid,andthusthetextiledepartment
thereproved,intheend,lessinnovativethanthatoftheBauhaus,withtheirconstant
questtoimprovefunctionalitywithoutsacrificingaestheticqualities.
TheWeavingWorkshop19191933
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TheWeavingWorkshopattheBauhausistheonlyworkshoptohaveexisted
duringtheentirefourteenyearlifespanoftheschoolitself.Althoughitstartedby
offeringavarietyoftextilerelatedactivities,includingcraftingofstuffedanimalsand
dolls,by1921thecurriculumwasfirmlyestablishedasorientedtowardsweaving.
AswithalltheBauhausworkshops,studentscouldonlyentertheWeaving
Workshopaftercompletingaoneyearintroductorycourse.Thiscourseoriginatedwith
JohannesItten,andafterhisdeparturein1923wastaughtbyJosefAlbersandLzsl
MoholyNagy.Thiscoursefocusedondesign,colortheory(Itten'smostimportant
contributiontotheartworld)andexperimentationwithmaterials,andtosomeextentthe
curriculumoftheWeavingWorkshopwasseenasanaturalextensionofthiscourse.
WhilealmostallBauhausstudentsenteredwithanextensivepriorarteducation,the
introductorycourseprovidedanintensiveintroductiontotheavantgardeprinciplesthat
formedthefoundationoftheBauhausdesignandphilosophy.
Weimar
DuringtheWeimaryears(19191925)oftheBauhaus,weavingfocusedon
experimentation,expression,andproductionofindividualpieces.Oftenthe
experimentationandexpressionwasatthecostoftechnique,asearlypieceswiththeir
unevenselvages,bucklingfabrics,andinattentiontofinishingillustrate.Thisis
understandableafterconsideringthelackofformaltechnicalinstructionintheearliest
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yearsoftheworkshopAnniAlberstoldSigridWortmannWeltgein1997:"Therewas
norealteacherintextiles.Wehadnoformalclasses.Nowpeoplesaytome:'youlearned
itallattheBauhaus'!Wedidnotlearnathinginthebeginning.IlearnedfromGunta,
whowasagreatteacher.Wesatdownandtriedtodoit.Sometimeswesattogetherand
triedtosolveproblemsofconstruction."1
TheBauhausadministrationeventuallyrealizedthattheweaverswouldnever
developprofessionalcapabilitieswithoutappropriatetechnicalinstruction,sotheysent
GuntaStlzlandBenitaOttetoKrefeldtostudydyeingin1921andweavingandfiber
technologyin1922.Theknowledgethetwowomenbroughtbackenabledthestudentsin
theworkshoptobeginproducingqualitytextileswhileretainingandevenenhancingthe
designqualitiesthattheirpreviousexperimentationhadsometimesfailedtofullyexpress.
ManyoftheweaversfavoredGobelintapestrytechniquestoproducetheirwall
hangingsandrugs,andsomeofthemostcharacteristicandenduring"Bauhausstyle"
designsstemfromthistime.CollaborationsbetweentheWeavingWorkshopandthe
FurnitureWorkshopresultedinearlyprototypesforsomeofthemostfamiliariconsof
theBauhausmovement,theBreuerchairs.
ThoughtheWeimareraBauhaustextilesarestellarexamplesofartistic
expressioninatextilemedium,thetrueinfluenceoftheBauhausontheweavingworld
wouldnotbefeltuntilafterthemovetoDessau.
1
Weltge,SigridWortmann,Women'sWork:TextileArtFromtheBauhaus,p.46.
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Dessau
UponthemoveoftheBauhaustoDessauin1926,theemphasisoftheWeaving
Workshopchangedfromoneofakindartpiecestodesignofcontemporaryfabrics
suitableforindustrialproduction,thoughstudentswerestillallowedandevenencouraged
toproduceindividualpiecesaswell.Multiplelayeredweavingsbecamemorepopularas
beingamoresuitablewayofcombiningcolortoproducedesigninanindustrialsetting,
leadingtothecrispgeometricdesignssocharacteristicofthe"Bauhausstyle."Students
continuedexperimentingwithinnovativematerialsinfabrics,withbothAnniAlbersand
OttiBergerbothpioneeringtheuseofcellophaneinfabric.
ThecurriculumintheworkshopatDessauwasconsiderablyenhancedin1927
whenPaulKlee,possiblythemostrespectedandadmiredteacherattheBauhaus,created
adesigncoursespecificallyfortheweavers.Hecontinuedtoteachthiscourseuntilhis
resignationfromtheschoolin1931.Inaddition,theremainderofthecurriculumbecame
muchmorestructuredandrigorousthanithadbeeninWeimar,withcourseworkinuse
ofmaterialsandequipment,dyeingandfinishingtechniques,andindustrialproductionin
additiontodesign.
TheintroductionofJacquardloomsintotheworkshopatDessauexpandedthe
repertoireoftheBauhausweaversconsiderably,andGuntaStlzlinparticularbecamea
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masteratcreatinginnovativeandexcitingdesignsfortheJacquardloom.Her1928piece
5Chre(5Choirs)iswithoutadoubtthemostsophisticatedJacquardweavingtocome
outoftheBauhaus,withitsvisualtrickeryofdesignmakingitlookthreedimensional.
ThepresenceoftheJacquardloomsmadethecreationofstructuralfabrics,whichderive
theirvisualinterestfromthecombinationofstructureandtexture,amuchmoreexciting
possibility.
IndustrybegantorecognizethepossibilitiesincollaborationwiththeBauhaus
designers.ThisculminatedinacontractbetweentheWeavingWorkshopandthe
PolytextilCompanyin1930,wherePolytextilwouldproduceandmarketfabricsfrom
workshopdesignsunderthelabel"bauhausdessau."Thecontractprovidedthestudents
withtheopportunitytobecomeinvolvedineveryphaseofindustrialproduction,in
additiontoprovidingpositionsforgraduatesoftheprogram.
ThelasttwoyearsinDessauwereatimeofturmoilandchangefortheBauhaus
ingeneralandtheWeavingWorkshopinparticular.AfterGuntaStlzl'sresignationin
late1931,LillyReichwasappointedheadoftheworkshopwithOttiBergerasher
assistant.Reichwasaninteriorandfashiondesignerratherthanaweaver,andhadbeen
partoftheWienerWerksttteduringitsearliestyears.Sheattemptedtointroducefabric
printingasanintegralpartoftheWeavingWorkshop,butbeforeshecoulddosothe
schoolclosed.
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Dessauiswherethe"Bauhausstyle,"atleastasitappliestotextiles,became
firmlyestablished,andwheredesignerandindustrybegantofullyrealizethepossibilities
incollaborativeeffort.
BauhausWeaversAftertheBauhaus
AftertheclosureoftheBauhausin1933,theremainingmembersoftheWeaving
Workshopbecamewidelydispersed,thoughmostendedupineitherEuropeorthe
UnitedStates.ManyoftheBauhausmemberswereJewish,andthuseitherbecame
targetsofNazipersecutionorfledGermanytoavoidbecomingsuchtargets.Stillothers
avoidedthedegenerateartistlabelandremainedinNaziGermany,abletocontinue
theircareersthroughthenextdecadeand,inmanycases,beyond.
TwoofthemostgiftedoftheBauhausweavers,OttiBergerandFriedlDicker,
wereamongthetwentyormoreBauhuserinwhowereexecutedinNaziconcentration
camps.BothBergerandDickerdiedintheAuschwitzconcentrationcampinPolandin
1944.
Inthe1930s,OttiBergerwasprobablythebestknownoftheweavingworkshop
alumnaeinEurope.SheattendedtheBauhausinDessau,receivingherdiplomain1930.
AfterayearheadingtheworkshopunderthedirectionofLillyReich,sheworkedasa
designerintheNetherlandsfrom1933to1937andinEnglandbetween1938and1939,
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patentinganumberofnewfabricsusinginnovativechemicaltreatmentsornew
materials.ThedePloegCompanyoftheNetherlandsevenmadeanexceptiontoits
policyofkeepingitsdesignersanonymous,andagreedtodisplayBerger'sinitials
alongsidethenamesofherdesigns.
AlthoughBergerobviouslyintendedtoimmigratetotheUnitedStatesin1938to
headthetextileprogramatLzslMoholyNagy's"NewBauhaus,"circumstances
preventedherjourney.In1939,shereturnedtoherhometown,Zmajavac,Yugoslaviato
visitherailingmother.Itisnotcertainwhethershefailedtorecognizetheperilofthe
politicalsituationinthatarea,orwhethershewasdeterminedtovisithermotherno
matterwhat.Regardless,whenshewasdeniedavisatotheUnitedStates,shefound
herselftrappedthere.In1944shewasdeportedtoAuschwitz/Birkenau,whereshewas
executed.
FriedlDickerwaslikewiseanalumnaoftheBauhausWeavingWorkshop,but
fromitsearlierincarnationinWeimar.Duringthemidtolate1920s,sheandFranz
Singerbecameahighlysoughtafterarchitect/interiordesignerpartnershipinVienna,
creatinghighlyfunctionalavantgardebuildings.Shecontinuedasaninteriordesignerin
ViennaaftertheSingerDickerStudioclosedin1931.In1934shewasarrestedand
forcedtoemigratetoPrague,Czechoslovakia,whereshebecameapoliticalactivistas
shecontinuedherdesignwork.
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AfterrefusingtheopportunitytoemigratetoPalestinein1938,Dickerwas
deportedtoTerezin(Theresienstadt)ghetto/campin1942.Shespentthelasttwoyearsof
herlifeinTerezinteachingdrawingandartclassesforthechildrenthere,untilshewas
transferredtoAuschwitz/Birkenauandexecuted.MuchofDicker'sartlegacyisinthe
formoftheworksofthesechildren,demonstratinghergiftsfordesignandforteachingin
theseimagesofincrediblebeautyamongutterdespair.
GreteReichert(19071984)wasoneoftheveryfewBauhausweaversableto
continuetheircareerthroughouttheNaziregimeandtheCommunisttakeoverofEast
GermanyafterWorldWarII.Littleinformationisavailableaboutthespecificsofher
postBauhauscareer,thoughsheisknowntohaverunanindependentstudioinher
hometownofErfurt,Germanyuntilherdeathin1984.Shereceivedanumberofhonors
andcommissionsduringthepostwaryears,andevidentlyherworkinlateryearswasfar
moreartorientedthanindustriallyoriented.Probablybecauseofherisolationbehindthe
IronCurtain,fewofherpostBauhausworkshavebeenseenoutsideofGermany.
However,GermancarpetmanufacturerVorwerkTeppichwerkeselectedoneofher
designsforinclusionintheir"Dialog:WomenoftheBauhaus"collectionintheearly
1990s.
ManyoftheotherBauhausweaverstookrefugeintheUnitedStates,England,
andSwitzerland.Whilesomeofthemfadedintoobscurity,othersfoundthattheir
departurefromGermanyallowedthemtoestablishindependentcareersasartists.Several
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achievedwidespreadrecognitiononlyafterleavingGermany,mostnotablyAnniAlbers,
MartiEhrman,TrudeGuermonprez,andevenGuntaStlzl.
AnniAlbers(18991994)
AnniAlbersiswithoutquestionthebestknownoftheBauhausweaversinthe
UnitedStates.SheandherhusbandJosefwerethefirstoftheBauhuslertocometothe
UnitedStatesaftertheclosureoftheBauhaus,andthroughconnectionsestablished
beforetheyleftGermany,theywereinvitedtoteachatthenewlyestablishedBlack
MountainCollegejusteastofAsheville,NC.Duringtheirfourteenyearsthere,theywere
majorcontributorstoBlackMountainCollege'sgrowingreputationasamajorcreative
forceinthearts.
Albers'tenureasdirectoroftheWeavingWorkshopatBlackMountainCollege
wastherealstartofhercareerasanartist.Whilethere,sheexpandedherweavinginnew
directions,beginningwiththefirsttwopiecesshecreatedthere,thewallhangings
AncientWritingandMonteAlban.Thesetwopieceswerethefirstpiecesinwhichshe
usedinlayandbrocadingtechniquestoenhancethedoublewovenfoundationdesign.She
continuedtoexpandherweavingrepertoirewhileatBlackMountainCollege,and
switchedtofreelancedesignwhenherhusbandacceptedapositiononthefacultyatYale
University.
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PerhapsthebiggestpushtoAlbers'careercamefromherwritings.Heressays,
influentialwhenfirstpublished,havebeencollectedintotwobooks,OnWeavingandOn
Designing,whichareregardedastwoofthemostimportantphilosophicaltreatiseson
theirsubjectstoday.
Alberscontinuedtocreateinnovative,yetpracticalandbeautifulfabricsfor
functionaluse,aswellascreativebutsubtlewallhangings,wellintothe1960s.Inthe
mid1960s,however,shediscoveredprintmaking,andby1970hadabandonedweaving
altogetherforlithographyandscreenprinting.Shebroughttoprintmakingthesameeye
forlineandcolor,thesameexpression,whichshehadbroughttoweaving,andin
additiontoproducingnumerousartprintscreatedseveralcommercialprintedfabric
collections.ForAlbers,printmakingbroughthertheformofexpressionthatshehad
hopedtoexploreinthePaintingWorkshopattheBauhausbeforeshewaspushedtoenter
theWeavingWorkshop.Nonetheless,thePaintingWorkshop'slosswasdefinitelythe
textileworld'sgainintheformofAnniAlbers,inmanywaystheconsummateBauhaus
artist.
MarliEhrman(19041982)
MarliEhrmanwasanotherBauhausweaveranddiplomarecipientwhofled
GermanyaheadoftheNazipurges.ShebecamedirectoroftheWeavingWorkshopat
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theSchoolofDesigninChicago,foundedbytheAssociationofArtsandIndustriesunder
thedirectionofLzslMoholyNagytobringtheestablishedprinciplesandphilosophies
oftheBauhaustotheUnited.AmongherstudentstherewereprominentAmerican
textiledesignersElseRegensteinerandAngeloTesta.AftertheWeavingWorkshop
closedin1947,shecontinuedtoteachattheHullHousesettlementschool,designed
textilesformassproductionbyanumberoffirmsaswellascollaboratingwithinterior
designerMarianneWillischandarchitectMiesvanderRohe.Inaddition,Ehrman
openedtheElmShop,amodernistdesignstudio,intheChicagosuburbofOakParkin
1956asanoutletforherwork.
Ehrman'sworkasadesigner,importantthoughitwas,palesinsignificancebeside
herinfluenceonthenextgenerationoftextileartists.LenoreTawney,ElseRegensteiner,
ClaireZeisler,AngeloTestaallstudiedwithEhrmaninChicagoandallhavehada
profoundimpactontextileseitherasdesignersorauthors.
TrudeGuermonprez(19101976)
TrudeGuermonprezwasoneoftheearliestofthesecondgenerationBauhusler,
studyingwithBauhausweaverBenitaOtteaswellasoriginalBauhauspotteryworkshop
masterGerhardMarcksattheMunicipalSchoolforArtsandCraftsinBurg
Giebichenstein,Hallefrom1931to1933.Twograntsallowedhertosupplementthis
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trainingwithstudiesofScandinavianweavingtechniquesinFinlandin1937andSweden
in1946.
GuermonprezspentmostofWorldWarIIinhidingintheNetherlands,though
shewasabletoclandestinelyworkasafreelancedesignerfortheDutchtextileindustry
duringthoseyears.Afterthewar,shetraveledtotheUnitedStatesin1947tovisither
motherandsister,whohadbeenlivingatBlackMountainCollegeinthemountainsof
westernNorthCarolinasincebeforethewar.Atthattime,AnniandJosefAlberswere
preparingforasabbaticaltriptoCentralAmerica,andGuermonprezagreedtostepinfor
Albersasinterimheadoftheweavingprogramatthecollege.Shefollowedhertwo
yearsatBlackMountainwithteachingstintsatartists'retreatPondFarminCalifornia
andSanFranciscoInstituteofArtbeforejoiningthefacultyatCaliforniaCollegeofArts
andCraftsinOakland.Sheremainedthereuntilherdeath,asheadoftheDepartmentof
Weavingfrom1960onaswellasheadoftheDepartmentofCraftsfrom1960to1971.
AsheadoftheDepartmentofWeavingatCaliforniaCollege,shewasan
instrumentalforceinthedevelopmentofseveraltextileartistsofthelatterhalfofthe
twentiethcentury,mostnotablyKaySekimachi.Inadditiontoherteaching
responsibilities,Guermonprezcontinuedtoworkasafreelanceweaverduringthistime,
designingfabricprototypesforindustryaswellasartweavingpieces.Herlastwoven
pieces,doubleweavehangings,continuedtoshowthestrongBauhausinfluencewhile
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usingsurfacedesigntechniquestolayergraphicimageryatoptheweaving,providingher
ownpersonaltouchtoamovement.
GuntaStlzl(18971983)
GuntaStlzlleftGermanyshortlybeforeAlbers,EhrmanandGuermonprez,but
ratherthangoingtotheUnitedStates,shewenttoZurich,Switzerland.Theturmoilof
herpersonallifeduringthe1930saside,shewasabletoestablishherselfasahandweaver
anddesignerthereinSwitzerland,carryingoutnumerouscommissionsforinteriorfabrics
overtheyearsandcollaboratingwithseveraltextilecompaniestoproduceindustrial
prototypefabrics.Inherlateryears,sheclosedherhandweavingstudioand,inasense,
returnedtoherrootsbyexclusivelyweavingtapestries.
ThoughStlzl'spostBauhausindustrialworkisnotfamiliarintheUnitedStates,
herartpiecesarepresentinthecollectionsoftheBuschReisingerMuseumandthe
MuseumofModernArt.AstheonlyfemalemastertheBauhauseverproduced,her
impact,directandindirect,ontwentiethcenturytextilesbothintheUnitedStatesand
Europeisimmense.
InfluencesonLaterGenerations
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Itisimpossibletolistallthefiberartistswhosework,eithernoworduringtheir
artisticdevelopment,reflectstheteachingsandinfluencesoftheBauhausdesignersand
thesocalledBauhausStyle.Therefore,thefollowinglistshouldbetakenasonlya
representativesample,focusingonsomeofthebetterknownartistsofthelatterhalfof
thetwentiethcentury.
JackLenorLarsen(1927)
ItisimpossibletodiscusstwentiethcenturyAmericantextiledesignwithout
mentioningJackLenorLarsen.Inhisfiftyplusyearcareer,heservedasadesigner,
author,lecturer,andmuseumconsultant.Hiscompany,JackLenorLarsenDesigns,
producedavastnumberofnowclassicfabricdesigns,somewoven,othersprintedor
knitted.Ashisreputationgrew,heexpandedhisdesignstoincludefurnishingsaswell,
andreceivedmanymajorarchitecturaltextilecommissionsforindustry,museums,and
publicbuildings.
Larsen'sowneducationasanartistwasatCranbrookAcademyinMichigan,
whichistheprimaryrepresentativeoftheScandinaviantextiletraditionintheUnited
States.However,theScandinavianandBauhaustraditionshavemuchincommon.Larsen
wasdoubtlesslyheavilyinfluencedbytheBauhausaestheticandphilosophyaswell,
particularlybytheworkofGuntaStlzl,whomheadmiredgreatly.Hismostvisible
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tributetoStlzl,though,wasthesuggestionthatBritishgalleryownerChristopherFarr
arrangetheproductionofanumberofherdesignsinthemid1990s.
DorothyLiebes(18991972)
AlthoughDorothyLiebeswasnotBauhaustrainedandbeganherweavingcareer
beforetheclosureoftheBauhaus,herworksharedmuchoftheBauhausaestheticand
philosophy.FirstasacustomproductionweaverforWestCoastarchitectsandinterior
designers,thenasanconsultingdesignerandstylistforindustrialfirmssuchasGoodall
Fabrics,theduPontCorporationandBigelowSanford,Inc.,muchofherworkshowed
thevibrantcolorcombinationsusedbyseveraloftheBauhausweaversaswellasthe
muteddeserttonesfavoredbyothers.LiebeswasoneofthefirstAmericanweaversto
beginusingsyntheticandexperimentalyarns,enjoyingtheinterplayoftexturegainedby
mixingsyntheticyarnssuchasnylonwiththemoretraditionalwoolsandothernatural
fibersfavoredbyhandweavers.Sheworkedcloselywiththedesignersandarchitectsthat
wereherclientstomakehertextilesanintegralpartofthearchitecturalsettinginwhich
theywereinstalled,ratherthanamereafterthought.AsthefirstAmericanhandweaverto
crossoverintoindustriallevelproduction,sheparalleledtheBauhausDessauidealof
designingfabricsthatwerebothaestheticallypleasingandhighlyfunctional.
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LoreKaddenLindenfeld(1902)
GermanbornLoreKaddenLindenfeldisthebestknownstudenttograduatefrom
theweavingprogramrunbyAnniAlbersandTrudeGuermonprezatBlackMountain
College.ShebecameoneofthefirstwomentoworkasadesignerintheAmericantextile
industry,spendingtenyearscreatingfabricsforseveralwellknownfirms.Aftertaking
timeofftostartafamily,shebeganteachinginthelate1960sasshecontinuedtodofree
lancework.Lindenfeldisnotaswellknownasmanyofhercontemporaries;however,
herstudentandindustrialfabricsplayedasignificantpartinbringtheBauhausidealsinto
Americanfabricdesign.
ElseRegensteiner(19062003)
ElseRegensteinerisanotherGermanborntextileartistwhogreatlyinfluencedthe
developmentofmodernfabricdesignintheUnitedStates.LikeLindenfeld,shedidnot
begintostudytextilesuntilsheimmigratedtotheUnitedStatesin1936toescapeNazi
rule.AftersettlingintohernewlifeinChicago,shemetMarliEhrman,herselfnewly
emigratedfromGermany.Bothwomenrealizedthattheyhadmuchincommon,and
RegensteinersoonagreedtoaddherteachertrainingandexperiencetoEhrman'sdesign
skillbybecomingEhrman'sassistantattheInstituteofDesign.ThoughRegensteinerhad
nopriorbackgroundintextiles,shequicklydiscoveredanaffinityandagiftforthecraft,
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andeagerlysupplementedEhrman'sinstructionbystudyingwithAnniandJosefAlbers
atBlackMountainCollegeduringvacations.Whenshegraduatedfromtheprogramin
1942,shewashiredasaweavinginstructorattheInstitute.
Regensteiner'steachingcareercontinuedattheArtInstituteofChicagofrom1945
to1971,andattheAmericanFarmSchoolinThessaloniki,Greecefrom1972to1978.In
addition,sheestablishedReg/WickHandwovenOriginalswithfellowInstitutestudent
JuliaMcVicker.Thestudioproducedmanycustomfabricsforinteriordesignerstryingto
softenthehard,coldfeelofthenewglassandsteelarchitecturethatwasgrowingin
popularity,aswellasindustryprototypeswithsimilarintent.Regensteiner'sworkbecame
verywellknown,inpartduetotheStiffelCompany'suseofReg/Wickfabricsforits
lampshadesforanumberofyears.
Regensteiner'sinfluenceextendedfartherbeyondtheinteriordesignandindustrial
textileworldsthananyotherBauhausinfluencedartist.Sheservedasdirectorforthe
HandweaversGuildofAmerica,wasacofounderoftheMidwestDesignerCraftsmen,
taughtnumerousworkshopsaroundthecountry,andwrotethreebooks,TheArtof
Handweaving,Weaver'sStudyCourse:IdeasandTechniques,andGeometricDesignin
Weaving,whichhavebeenregardedasclassicresourcesforhandweaversforthelast
threedecades.Thesebooks,perhapsmorethananythingelse,helpedbringBauhaus
designprinciplestothehobbyhandweaverandthusenrichedthecraft.
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KaySekimachi(1926)
AtfirstglancethesculpturalfiberpiecescreatedbyKaySekimachiseemtohave
littlerelationshiptotheflatwovencarpetsandyardageoftheBauhausweavers.Upon
closerexamination,however,severalobviousinfluencesfromtheBauhauspermeateher
work.Heruseofnylonmonofilament,amodernfiber,isverymuchinkeepingwiththe
Bauhausideaofexperimentationinuseofmaterials.Itsuseinhermultilayeredwoven
sculpturesofthe1960sproducedamethodofusingonlyshapeanddimensionalityto
achievethesamevisualcomplexityoflightanddarkcontrastasinAnniAlbers'wall
hangings.Herlatersculpturalworks,whileusingmoretraditionalmaterials,demonstrate
thecleanandorderlyuseoflineandshapesocommontotheBauhausstyle,onlyinthree
dimensionsinsteadoftwo.
AngeloTesta(19181984)
Intheearly1940s,ayoungstudentenrolledattheUniversityofChicagowiththe
intentofbecominganarchaeologistfoundhimselfembarkingonacrusadetobringfabric
designintothemodernera.AngeloTestahadbeenanawardwinningartistinhigh
schoolinSpringfield,MA,butoriginallyintendedtomakeartanavocation.After
discoveringtheInstituteofDesigninChicago,however,heenrolledintheprogramthere
tostudydesignwithLzslMoholyNagyandweavingwithMarliEhrman.Asaresult,
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heremainedavocalsupporterofBauhausprinciples,bothphilosophicalanddesign,
throughouthiscareerasanindustrialtextiledesigner.
Fromthebeginning,however,TestaincorporatedAbstractModernismintotextile
designinhisownuniquefashion.Hisdesignsweredescribedas"abstractpatterns
employingnewconceptionsofspace,line,andcolor"inanarticleinMonsantoMagazine
in1953.2Hisfirstcommerciallyproduceddesign,"LittleManDesign,"reflectsthe
simplicityofdesignandemphasisonformcommonlyassociatedwiththe"Bauhaus
style."Yet,thedesignitselfshowsanorganicqualityrarelyseeninoriginalBauhaus
textiledesigns.Laterdesignscontainmoreofageometricquality,yettheshapesare
distortedoutoftherightanglegridmostcommonlyseeninBauhauswoventextiles.
Furthermore,Testaalso"pushedtheenvelope"inhischoiceofmaterials,findingthat
plasticfabricprovidedthedesiredsurfaceforhisdesigns.Hence,Testafoundthatthe
bestmediumfordevelopingmanyofhisdesignsintoproductionfabricwasnotweaving,
butprinting.
WhereistheBauhausToday?
Museumcollections
TodayoriginalBauhausandderivativetextilesarefoundinthecollectionsof
numerousmuseumsthroughouttheworld.Amongthelargestcollectionsarethoseatthe
2
"CloseUp,"MonsantoMagazine,April/May1953,<http://www.angelotesta.com/>
26of33
BauhausArchivMuseumofDesigninBerlin,theKunstsammlungerinWeimar,the
NationalGalleryofArtandtheSmithsonianAmericanArtMuseuminWashington,
D.C.,andespeciallytheBuschReisingerMuseumoftheHarvardUniversityArt
MuseumsinCambridge,MA.
VorwerkTeppichwerkecarpets
In1991,GermancarpetmanufacturerVorwerkTeppichwerkebeganexploring
thepossibilityofconvertingoriginalBauhausdesignsintomassproducedwalltowall
carpeting.Manyofthedraftstheyexaminedweredeemedunsuitableaseitherlacking
thenecessarypatternelementsallowingforendlessrepetitioninbothlengthandwidthof
theresultingproduct,orcreatedasallroundcompositionsintendedformultipleuses
suchascurtainsandblanketsaswellascarpeting.However,anumberofdesignsfitthe
parametersestablishedbythecompany,andinadditionhadneverbeenconvertedinto
actualproduct(whetheroneofakindormassproduced).
TheresultofthisstudywasthecarpetcollectionClassic:Frauenam
Bauhaus(WomenattheBauhaus),introducedin1994atDessauitself.Thiscollection
ofcarpetingconsistsofelevendesignsproducedbyfiveoftheBauhausweaversduring
theDessauyears:GertrudArndt,MonicaBellaBronner,KittyFischer,GreteReichardt,
andGuntaStlzl.Theelevendesignsareclearexamplesofwhatcametobecalledthe
27of33
Bauhausstyle,withtheirprecisegeometricpatterningandtheirvibrantyetclearcolor
harmonies.
Interestingly,althoughFischer,Reichardt,andStlzlweredeadbythistime,the
othertwooriginaldesigners,GertrudArndtandMonicaBellaBronner,werestillliving
andwerebotheagertoparticipateinthisproductlinedevelopment.BellaBronner
reviewedherowndesigndraftsandprovidedinputintotheirconversionforproduction,
whileArndtparticipatedinthecolormatchingphaseofdevelopmentaswellintheactual
initialproductionitself.Thus,thecollaborationbetweentextiledesignerandtextile
industryenvisionedduringtheBauhausyearscouldfinallymanifestseventyyearslater.3
GuntaStlzlDesignsbyChristopherFarrGalleries
In1995,JackLenorLarsenwasinLondon,EnglandvisitingChristopherFarrand
MatthewBourneofChristopherFarrGalleries.UponseeingtheworksproducedbyFarr
andhisdesigners,LarsensuggestedthatFarrandBurkeconsiderreproducingsomeofthe
BauhauseradesignsofGuntaStlzlaslimitededitionrugs.AsLarsensaid:
itcametomethatGunta'scompositionswouldbebestrealisedbyAsian
handweavers.Still,nosolutioncameuntilIfoundChristopherFarr'sLondongalleries
fullofmodernkilimsandhandknottedrugswoveninAnatolia.Theirglistening,wiry
3
Vorwerk&Co.Vorwerk&Co.TeppichwerkeGmbH&Co.KG.2003.
<http://www.vorwerkteppich.de/produktdetail.brw?quality=04171>
28of33
fibrefromsheepbredformillenniatoproducethebestcarpetwoolsaddedtotheir
quality.Sodidkettledyeingstreakyyarnshandspunfromungradedfleeces.Allthe
organicrichnesswashere,offsetbythemeticulouscraftsmanshipfoundinantiquerugs.
Andhere,itseemed,weretheentrepreneursonecouldtrustwithStlzl'srepertoire.4
AfterconsultationwithStlzlsdaughters,YaelAloniandMonikaStadler,the
FarrGalleryselectedacirca1926forinitialreproductionintwoforms,aflatweaverug
andahandknottedrug,eachinadifferentcolorway.Thetworugswereshownatthe
retrospectiveexhibitGuntaStlzlMeisterinamBauhaus,attheMuseumfurKunstin
HamburginMarch1998.TheirenthusiasticreceptionconvincedFarrandBourneto
arrangeproductionofotherdesignsaswell.AsofOctober,2000,thecollectioncontained
fivehandknotteddesigns,twoflatwovendesigns,andatapestry,eachinalimitededition
offifteenrugs.5
AnniAlbers'loom
OnelegacyoftheBauhausWeavingWorkshopisstillinusetodayinwestern
Pennsylvania,availabletoanyhandweaverwillingtotravelthere.WhenAnniAlbers
4
Larsen,JackLenor.AfterwordtoOriginalContemporaryDesignRugsandCarpets.
October7,1999.<http://www.cfarr.co.uk/past_exhibitions2.htm>
5
OriginalContemporaryDesignRugsandCarpets.1999.
<http://www.cfarr.co.uk/past_exhibitions2.htm>
29of33
immigratedtotheUnitedStatesin1933,shebroughtwithheraneightshaft
countermarcheloomthatshehadusedattheBauhaus.Shecontinuedtoweaveonthis
loomuntil1961,whenitpassedintothehandsofherstudentDoloresDembusBittleman.
Twentyyearslater,Ms.BittlemansoldtheloomtotheWeaversGuildofPittsburgh.It
wassporadicallyusedatthePittsburghCenterfortheArtsuntil1996,whentheguild
decidedthatitrequiredtoomuchspaceforthemtocontinuetokeepit.
Atthattime,weaverandtextilescholarSigridPirochwasinthelatestagesof
organizingtheAlleghenyRiverTextile(ARTS)Studio.ThePittsburghguild,upon
receivingnewsofthenewstudio,decidedthatARTSwouldbeaperfecthomefor
Albersloomalocationwhereitcouldbeusedratherthansittingidleinanexhibit,or
worsestoredawayoutofview.Afterayearofrestorationwork,performedwiththehelp
ofGermanMasterWeaverGudrunWeisinger,Albersloomdebutedinaplaceofhonor
asARTSopenedinOctober1997.Today,accordingtoPiroch,studentsandteachersat
ARTSdoindeedweaveonAlbersloom,bringingthehandworklegacyoftheBauhaus
aswellasitsdesignlegacyonintothetwentyfirstcentury.6
6
Piroch,Sigrid.AnniAlbers.<http://ww.artsstudio.org/anni_albers.htm>
30of33
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