Available:*
Library | Item Barcode | Call Number | Material Type | Item Category 1 | Status |
|---|---|---|---|---|---|
Searching... | 30000000428619 | TR653.B38 1986 | Open Access Book | Book | Searching... |
On Order
Summary
Summary
These five hundred photographs are a unique and exuberant record of Bauhaus activities and experiments during the 1920s and early 1930s. Significantly, most of the photographs were taken by artists-painters like Fritz Kuhr and Werner Siedhoff, designers Heinz Loew and Herbert Bayer, Bauhaus masters Hannes Meyer and Joosst Schmidt - who were not self-conscious photographers but who wanted to work with a new technological product.
The results constitute the largest and most comprehensive photographic archive currently available on the Bauhaus, supplementing visual material already published in Hans Wingler's monumental Bauhaus and presenting the school's more human side. Some of these photographs have never been published, while others have not been published since the period in which they were made.
Part I consists of over 100 "artistic" images, a listing of Bauhaus photography exhibits, an example of a Dessau Bauhaus lesson plan, including photography, and essays on various aspects of photography by Peterhans, Moholy, Vordemberge-Gildewart, Ernst Kallai, Fritz Kuhr, Willi Baumeister, Adolf Behne, Max Burchartz, Will Grohmann, and Ludwig Kassack. There is also a section on the use of photography with typography.
Part II is a Bauhaus album - nearly 400 illustrations of applied photography documenting the Bauhaus buildings, classroom projects, or day-today activities of students and faculty.
Egidio Marzona has assembled the world's foremost collection of works on paper documenting the revolutionary efforts of the Bauhaus. Marzona is also a well-known publisher of books on Russian Constructivism, Futurism, De Stijl, Dadaism, and a host of other movements and figures of the 20th-century avant-garde.
Reviews 1
Choice Review
A curious but interesting book that was originally published in Germany in 1982. It is an album of 500 black-and-white photographs from the Bauhaus which are arranged in two parts: first, photographs which are reflective of the elements of the educational curriculum that are images which can stand alone, and second, a much larger group which are referred to as an album, and which are more documentary in nature. The book is introduced with a purely summary text by Eugene Prakapas, a New York art dealer. In the commentary section there are several essays reprinted from Bauhaus publications. This material can be found in translation elsewhere, but its presence here helps to locate the photographs in both the philosophy and the practices of the Bauhaus. All of the photographs are captioned and credited. Because expressive photography was not a prime component of the Bauhaus studies, but rather contributory to them in a variety of ways, this book is likewise reflective of a somewhat ambiguous nature. It is an informative, convenient compendium of this visual material, some of which has not been published before, and its greatest value will probably be for the scholar and picture researcher. For upper-division undergraduates and graduate students.-P.C. Bunnell, Princeton University
