New Design – Neoplasticism, Nieuwe Beelding
Edited by Walter Gropius, László Moholy-Nagy (original series), Lars Müller (English edition) in collaboration with Bauhaus-Archiv/Museum für Gestaltung, Berlin
Although Piet Mondrian (1872–1944) was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. Mondrian, cofounder of the De Stijl movement in the Netherlands, called for a strict reduction of visual language to orthogonal composition and primary colors, which met with great approval in Bauhaus circles. His rigorous geometric compositions of verticals and horizontals and strident palette of essential colors were important to numerous Bauhaus masters; Mondrian’s influence appeared in Bauhaus architecture, product design, typography, graphic design, painting and beyond. It is therefore not surprising that Mondrian’s essays on art theory, most of them written for the De Stijl journal, were translated into German and published as number five in the Bauhausbücher series. New Design starts with a philosophical foray into art, which Mondrian describes as a figurative expression of human existence—an expression which will find its natural conclusion in his own concept of a “New Design.” Mondrian then considers the relationship between painting and architecture and dares to take a far-reaching look at the future of Neoplasticism, which he imagines revolutionizing design and architecture around the world.
Harry Holtzman’s renowned translations of Mondrian’s selected essays appear in New Design as a complete compilation for the first time. The publication is true to the content and design of the German first edition of 1925 and includes a brief scholarly commentary.
2019, Lars Müller Publishers
68 pp., Reprint, hardcover
bauhaus journal 1926-1931
One hundred years after the founding of Bauhaus, it’s time to revisit bauhaus journal as significant written testimony of this iconic movement of modern art. In this journal, published periodically from 1926 to 1931, the most important voices of the movement are heard: masters of the Bauhaus, among others, Josef Albers, Walter Gropius, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Oskar Schlemmer, as well as Herbert Bayer, Marcel Breuer, Ludwig Mies van der Rohe, Gerrit Rietveld, and many more.
"I am not an art historian but an architect: the future is more important to me than the past and I am more inclined to investigate what is to come than to research what had already occured.” Thus begins Oud’s “confession” in volume 10 of the Bauhausbücher series.
The Bauhaus was an important inspiration for modern design and functional architecture, well beyond the bounds of Germany alone. Yet the products themselves were not the only decisive factor in its international impact and reception. The ideas of the Bauhaus were carried around the world largely because of the – mostly involuntary – emigration of the Bauhaus figures in the 1930s, above all to the USA and the Soviet Union, but also to Israel, China, India and Turkey.