Publications about the Bauhaus

It is still little known that Ludwig Grote (1893–1974) was one of the most important supporters of the Bauhaus during the Weimar Republic and one of its most influential propagandists in the Federal Republic of Germany.

“Art and technology: a new unit” – It was with this slogan that the Bauhaus moved to Dessau in 1925/26. The seven years in Dessau were most productive for the designers and architects at the Bauhaus. This illustrated volume presents the Bauhaus buildings in Dessau in words and pictures and offers new perspectives on these icons of modern architecture.

Published for the first time in English, this new edition of the first of the Bauhausbücher is accompanied by a brief scholarly commentary. Presented in a design true to Moholy-Nagy’s original, “International Architecture” offers readers the opportunity to explore the Bauhaus’ aesthetic and its place in the world as Gropius himself was trying to define them.

In his legendary Pedagogical Sketchbook, Paul Klee takes a theoretical approach to drawing using geometric shapes and lines. In the present volume, the 1953 English translation by Sibyl Moholy-Nagy is combined with the design and physical qualities of the original German edition from 1925.

Although Piet Mondrian (1872–1944) was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. It is therefore not surprising that Mondrian’s essays on art theory were translated into German and published as number five in the Bauhausbücher series. 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.

This English translation of Moholy-Nagy’s “Painting, Photography, Film” is based in content and design on the 1925 German first edition, making the latter available to an international readership for the first time. The publication includes a brief scholarly text providing crucial contextual information and reflecting on the history and legacy of the book.

When the Bauhaus departed Dessau in 1932, there was no Bauhaus collection left in its wake. Today the collection of the Bauhaus Dessau Foundation comprises more than 50,000 objects and documents on the history of the Bauhaus and its reception. The publication examines the early years of the “Bauhaus collecting process” and describes and analyses the institutional procedures that preceded the establishment of the Dessau Bauhaus collection, while also tracing the history of the Bauhaus reception in the GDR.

The catalogue “Staatliches Bauhaus in Weimar 1919–1923” was published in 1923 to accompany the first public showcase of the state art school Bauhaus. With the original layout by László Moholy-Nagy and a cover designed by Herbert Bayer, the book represents an important testimony to the legendary avant-garde movement, shedding light on the work and aspirations of the Bauhaus from its earliest days.

The Bauhaus centenary raises the question: What remains? What ideas and concepts did the pioneers of the avant-garde leave to today’s architecture and design world? Are there principles, methods and ideals that are still relevant 100 years after the founding of the school in Weimar?

From informal shots of group gymnastics to drawings guided by Paul Klee, from extensive architectural plans to an infinitely sleek ashtray by Marianne Brandt, the collection brims with the colors, materials, and geometries that made up the Bauhaus vision of a “total” work of art.

In the fall of 1923, Walter Gropius and László Moholy-Nagy started planning the Bauhaus books. This series of books was designed to examine the diverse design areas of modern life and the modern world.

For almost a decade, photographer Jean Molitor has travelled around the globe to document the influence of the Bauhaus – be it in Berlin or Casablanca, Stuttgart or Havana, St. Petersburg or Guatemala City, Vienna or Bukavu in the Democratic Republic of the Congo.

This publication presents the multifaceted nature of photography at the bauhaus and takes the reader on a journey through time into the world of the Bauhaus.

This publication offers insight into this rich collections of typographical works from the Bauhaus in the Bauhaus-Archiv / Museum für Design in Berlin and illustrates the versatile possibilities and multifaceted handling of this medium at the Bauhaus.

One hundred years after the founding of the Bauhaus, it’s time to revisit Bauhaus, the school’s journal, as a crucial testimony of this iconic moment in the history of modern art.

Hans Kessler’s letters to his mother are among the few surviving documents of the last two years of the Bauhaus. With their comments on political events and the Bauhaus everyday life they are vital cultural-historical primary sources.

The memoirs of the Hungarian of Jewish origin who was politicized at the Bauhaus are testimony to a turbulent artists life marked by Nazi terror, resistance, flight and exile.

“Bauhaus Women: A Global Perspective” reclaims the other half of Bauhaus history, yielding a new understanding of the radical experiments in art and life undertaken at the Bauhaus and the innovations that continue to resonate with viewers around the world today.

This introduction looks at the evolution and influence of this great twentieth century visionary through twenty of his most significant projects, from the Bauhaus building in Dessau to the Siemensstadt estate to the Harvard University Graduate Center and the Gropiusstadt in Berlin.

As early as 1930, Lucia Moholy had the idea of ​​writing a "photo book" and began extensive research. She solved her claim to write a cultural-historical history of photography by embedding the prerequisites, developments and achievements of the new medium in a broad context of political, economic, technical, aesthetic, artistic and sociocultural contexts.

Saxony-Anhalt has an unimagined abundance of cultural goods of this era. In addition to those in Dessau, where the Bauhaus resided in the years 1925-32, the Zeitgeist and the modernist will to reform are reflected in many facets in architectural monuments.

In ‘My Years at the Bauhaus’ Werner Feist describes and reflects his life and studies at the famous school. This first-hand information gives the reader a deep, sometimes even intimate view of life at the Bauhaus Dessau and is of great value to the historiography of this institution.

The Bauhaus-Archiv / Museum für Gestaltung, Berlin, has marked the beginning of the celebrations for the major Bauhaus jubilee in 2019 by presenting its collection “New Bauhaus Photography”, which is one of a kind in Europe. It portrays the protagonists and institutions which have inspired, created, collected and presented photography to the public since the New Bauhaus’s founding in Chicago in 1937.