Readymag Stories: Bauhaus

Wisely, the facet of neoplasticism which most interested the Bauhaus was its aesthetics –abstraction, minimalism, primary colors (red, blue, yellow), basic forms, straight lines – rather than its mysticism. Johannes Itten also emphasized the notion of oppositions (or, in his terminology, “contrasts”) though he argued them from a different perspective. At Gropius’ invitation, Lothar Schreyer began teaching at the Bauhaus, including a course on “Form.”

Schreyer founded the Bauhaus theater studio but his name was virtually erased from the annals of the school due to his Nazi sympathies. Nonetheless, theater became one of the school’s great strengths, especially under the direction of its next leader, Oskar Schlemmer. Like many Bauhaus teachers Schreyer was deeply influenced by Expressionism, which is evident in his theater work.

hile the Bauhaus remained a small, close-knit school, the staff and students at Vkhutemas were less of one mind. Avant-garde views flourished, especially amongst the school’s architecture faculty, as Ladovsky’s approach won more and more followers, achieving impressive results. Since architects must think spatially, Ladovsky advocated working on three-dimensional objects in actual space, not just on paper, and later rendering the detailed plans on blueprints.

This maquette method encouraged imagination and led to new approaches and the incorporation of unusual materials. This was the year, too, of an incident that threw light on the larger social-political context. During a visit from Lenin visited he inquired, “Perhaps there is even a Futurist among you?” only to be answered unhesitatingly: “Plenty.” Lenin left unhappy, apparently not enthused by the thought of artistic revolution. This was also the year of Wassily Kandinsky’s departure from the Soviet Union (never to return, it turned out). Although Kandinsky never taught at Vkhutemas he became a leading figure in INKhUK (the Institute of Art Culture), which worked closely with Vkhutemas.

ropius then introduced a requirement for everything produced in the studios: the quantity of parts must be kept to a minimum. The idea was to ready the process for mass production. The principles of what would eventually be known as “Bauhaus style” were now in place. Soon after a new master joined the faculty, Wassily Kandinsky, invited by Gropius following a long correspondence. Kandinsky’s specialty was classes in form and color.

In the theater department Oskar Schlemmer staged the Triadisches Ballett, the defining composition of his tenure. The ballet was designed in three parts (3 dancers, 12 dances in all), ascending from burlesque and comedy to the ceremonial and grand, peaking finally in fantasy.