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Nikolai Ladovsky (standing with a hat in his hand) on the early stage of work on Red Stadium designed by Vkhutemas students, 1924
Ladovsky’s Color classroom at Vkhutemas
he traditional system of education, beginning with a survey of art history before proceeding to practical training, was rejected and replaced by a Renaissance system of individual studios, although this meant the loss of much that was scientifically sound.
“Acrobatics”, scene II, produced by Oskar Schlemmer, 1927
Photo by Erich Consemüller © Stiftung Bauhaus Dessau
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Portrait of Lothar Schreyer, 1922
© Bauhaus Archiv Berlin
Piet Mondrian, Composition, 1929
© Mondrian/Holtzman Trust
Bauhaus Building Blocks designed by Alma Siedhoff-Buscher in 1923
Photo courtesy of Naef
ropius worked with De Stijl, the Dutch creative group that includes Piet Mondrian, Theo van Doesburg, and
J. J. P. Oud, and the Bauhaus became strongly involved with ideas of neoplasticism, De Stijl’s theory of the equality of opposites: verticals and horizontals, vacancies and masses, black and white, seen as representing the opposition of natural forces.
