Masters and teachers
Teachers were called “masters” at the Weimar State Bauhaus. They included renowned artists such as Feininger, Kandinsky, Marcks and Klee. Later on, outstanding Bauhaus graduates were appointed as junior masters. Moreover, to ensure students acquired an all-round training, the Bauhaus regularly invited along guest lecturers and speakers.
Abstract, open, useful. Those were the modern principles that Hilberseimer instilled in his students of architecture and of housing and urban design. He recorded his urban planning theory in numerous publications.
Gropius appointed Josef Albers as a young master before he had even qualified as a journeyman. He was in charge of the preliminary course, where he formulated a pioneering approach to art education.
Anni Albers originally wanted to be a painter, but it was at the loom where she found artistic freedom at the Bauhaus. In her work she primarily explored abstraction.
1929–1932 Bauhaus master
He came across the Bauhaus in Weimar more or less by chance – and after his first conversation with Walter Gropius he knew he would be staying. Years later Arndt took over the Building and Fitting Out department.
1927–1930 Bauhaus teacher
He had travelled his path with Gropius, Behrens and Le Corbusier. For the team of architects headed by Gropius, Fieger drew plans for the Bauhaus building and the Masters’ Houses. Alongside this he taught at the Bauhaus.
1919–1924 Bauhaus master
Sculpture, pottery and woodcuts were life’s blood to Marcks. As master of form he set up the pottery workshop at the Bauhaus.
1920–1925 Bauhaus teacher
He was Walter Gropius’s right-hand man, his number 1 planner and a close confidant. In 1910 they had already worked together on the Fagus Factory, one of the most significant buildings in modernist architecture.
László Moholy-Nagy was the genius of all media. He was a living example of his own educational philosophy as a self-taught artist – at the Bauhaus and later at the New Bauhaus in Chicago.
She was the woman at Mies’s side. In 1932 Lilly Reich took over the fitting out workshop and officially became the second female Bauhaus master.
Peterhans was a photographic perfectionist. He used tweezers to arrange his still lifes millimetre by millimetre. He demanded the same devotion to technical precision from the students in his photography class.
1921–1929 Bauhaus master
Space Dance, Gesture Dance, Rod Dance, Triadic Ballet. Oskar Schlemmer developed his costumed, masked dancer into an “art figure” synthesising dance, costume and music.
1928–1929 Bauhaus teacher
From chairs to cities, Stam designed types for industrial and serial production. His standardised row house for the Weissenhof housing estate was a game-changer.