包豪斯作品
Bauhaus 1919 - 1933: Workshops for Modernity
The Museum of Modern Art, New York November 08, 2009-January 25, 2010
ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31
Upholstery, drapery, and wall-covering samples
1923-29
Wool, rayon, cotton, linen, raffia, cellophane, and chenille
Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm)
The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers
ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31
Wall hanging
1925
Silk, cotton, and acetate
57 1/8 x 36 1/4" (145 x 92 cm)
Die Neue Sammlung - The International Design Museum Munich
ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31
Wall hanging
1925
Wool and silk
7' 8 7.8" x 37 3.4" (236 x 96 cm)
Die Neue Sammlung - The International Design Museum Munich
ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31
Wall hanging
1926
Silk (three-ply weave)
70 3/8 x 46 3/8" (178.8 x 117.8 cm)
Harvard Art Museum, Busch-Reisinger Museum. Association Fund
Tablecloth Fabric Sample
1930
Mercerized cotton
23 3/8 x 28 1/2" (59.3 x 72.4 cm)
Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany
The Museum of Modern Art, New York. Purchase Fund
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture])
c. 1921
Glass, wire, and metal, in metal frame
15 3/8 x 13 1/8" (39 x 33.3 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Gitterbild in Grün (Grid picture in green; also known as Gitterbild [Lattice picture] and Grid mounted)
c. 1921
Glass, iron, and copper wire
13 1/8 x 11 7/8" (33.4 x 30.2 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Goldrosa
c. 1926
Red glass flashed on milk glass, sandblasted, with black paint
17 9/16 x 12 3/8" (44.6 x 31.4 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Fruit Bowl
1924
Silver-plated metal, glass, and wood
3 5/8 x 16 3/4" (9.2 x 42.5 cm)
Manufacturer: Bauhaus Metal Workshop, Germany
The Museum of Modern Art, New York. Gift of Walter Gropius
Gitterbild: Park (Grid Picture: Park)
1924
Glass, wire, metal, and paint, in wood frame
19 1/2 x 14 15/16" (49.5 x 38 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Skyscrapers B (also known as Skyscrapers II)
c. 1929
Sandblasted flashed glass
14 1/4 x 14 1/4" (36.2 x 36.2 cm)
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of the Joseph H. Hirshhorn Foundation
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Tea Glass with Saucer and Stirrer
1925
Heat-resistant glass, chrome-plated steel, ebony, and porcelain
.a (cup): 2 x 5 1/2 x 3 1/2" (5.1 x 14 x 8.9 cm)
.b (saucer): 4 1/8" (10.5 cm)
.c (stirrer): 4 1/4 x 7/16" (10.8 x 1.1 cm)
Manufacturer: Bauhaus Metal Workshop, Germany
The Museum of Modern Art, New York. Gift of the designer
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Armchair
Designed 1926, this example produced 1928
Solid mahogany and mahogany veneer on beech, solid maple, upholstery on beech frame, and nickel-plated slotted screws with round heads
29 1/2 x 24 1/4 x 26 5/8" (75 x 61.6 x 67.6 cm)
Bauhaus-Archiv Berlin
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Bauhaus Lettering Set (Kombinations-Schrift)
1926-31
Milk glass and painted wood
24 1/8 x 23 7/8" (61.3 x 60.6 cm)
The Museum of Modern Art, New York. Gift of the designer
Upward
c. 1926
Blue glass flashed on milk glass, sandblasted, with black paint
17 9/16 x 12 3/8" (44.6 x 31.4 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Working design for Kombinations-Schrift (Combinatory letters) lettering 1926
Pencil, red pencil, and ink on ruled graph paper
8 3/8 x 11 3/4" (21.3 x 29.8 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Set of stacking tables
c. 1927
Ash veneer, black lacquer and painted glass
Ranging from 15 5.8 x 16 1.2 x 15 3.4" (39.2 x 41.9 x 40 cm) to
24 5.8 x 23 5.8 x 15 7.8" (62.6 x 60.1 x 40.3 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Writing desk. Designed for Anna M?llenhoff, for the M?llenhoff family's Berlin apartment
c. 1927
Ash veneer, black lacquer, and painted glass
30 x 35 3/8 x 23" (76.2 x 89.8 x 58.9 cm);
30 x 52 1/4 x 23" (76.2 x 127.6 x 58.9 cm) with leaf extended
Collection Esther M. English
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Armchair (model ti 244)
1929
Laminated beech wood, tubular steel and canvas upholstery
28 1/2 x 23 1/8 x 28 1/2" (72.4 x 58.7 x 72.4 cm)
Manufacturer: Bauhaus Furniture Workshop, Dessau, Germany
The Museum of Modern Art, New York. Gift of the designer
Klee, Dessau XI 29 (Paul Klee, Dessau November 1929)
1929
Three gelatin silver prints
overall 6 3/4 x 16 7/16" (17.1 x 41.8 cm)
The Museum of Modern Art, New York. Gift of The Josef Albers Foundation, Inc.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Skyscrapers A (also known as Skyscrapers I)
c. 1929
Sandblasted opaque flashed glass
13 3/4 x 13 3/4" (34.9 x 34.9 cm)
Private collection
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Skyscrapers on Transparent Yellow
c. 1929
Sandblasted flashed glass with black paint
13 7/8 x 13 7/8" (35.2 x 35.2 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Wallpaper samples
1929
Colored inks printed on paper
Smallest: 9 1/16 x 7 5/16" (23 x 18.5 cm); Largest: 9 1/16 x 11 5/8" (23 x 29.5 cm) Harvard Art Museum, Busch-Reisinger Museum. Gift of Josef Albers
JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33
Marli Heimann, III.IV 31, Alle wahrend 1Stunde (Marli Heimann, April 3, 1931, all during an hour).
1931
Twelve gelatin silver prints
Overall 11 11/16 x 16 7/16" (29.7 x 41.8 cm)
The Museum of Modern Art, New York. Gift of The Josef Albers Foundation, Inc.
Meister Doppelh?user, von unten gesehen (Masters' double houses, seen from below)
Color scheme for the exteriors
1926
Ink and tempera on paper
29 15/16 x 22 1/16" (76 x 56 cm)
Bauhaus-Archiv Berlin
GERTRUD ARNDT German, 1903-2000; at Bauhaus 1923-32
E xercises for color theory course taught by Paul Klee
1923-24
Watercolor and india ink over pencil
13 x 8 11/16" (33 x 22 cm)
Bauhaus-Archiv Berlin, on long-term loan from the Arndt family
GERTRUD ARNDT German, 1903-2000; at Bauhaus 1923-32
Exercises for color theory course taught by Paul Klee
1923-24
Watercolor and india ink over pencil
13 x 8 11/16" (33 x 22 cm)
Bauhaus-Archiv Berlin, on long-term loan from the Arndt family
GERTRUD ARNDT German, 1903-2000; at Bauhaus 1923-32
At the Masterhouses
1929
Gelatin silver print
8 7/8 x 6 1/4" (22.6 x 15.8 cm)
The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Thomas Walther
ARTIST UNKNOWN
Exercise for preliminary course taught by Josef Albers
n.d.
Industrially painted wire screen
6 7/8 x
7 5/8" (17.5 x 19.3 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
ARTIST UNKNOWN
Exercise for preliminary course taught by Josef Albers
n.d.
Industrially painted wire screen
13 9.16 x 6 13.16" (34.5 x 17.3 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
ARTIST UNKNOWN
Hand-binding of commercially printed book Nan Hua Dschenging: Das wahre Buch vom südlichen Blütenland (The true book of the southern land of blossom), by Dschuang Dsi (Jena, Germany: Eugen Diederichs, 1920)
Executed in Otto Dorfner's booklbinding workshop, c. 1920
Half parchment, marbled paper
8 1/2 x 5 7/8 x 15/16" (21.6 x 15 x 2.4 cm)
Klassik Stiftung Weimar, Herzogin Anna Amalia Bibliothek
ARTIST UNKNOWN
Texture study for preliminary course taught by Johannes Itten
1919
Cut-and-pasted papers with ink, pencil, and watercolor on paper
12 13/16 x 13 11/16" (32.6 x 34.7 cm)
Klassik Stiftung Weimar, Graphische Sammlungen
ARTIST UNKNOWN
Hand-binding of commerically printed book Werke der Urgermanen. Schriften zum Wiederaufbau der alten nordischen Kulturen (Works of old German: Writings on the reconstruction of old northern culture) (Hagen, Germany: Folkwang-Verlag, 1919) Executed in Otto Dorfner's bookbinding workshop, c.1920
Half parchment, marbled paper
11 13/16 x 9 1/8 x 7/8" (30 x 23.2 x 2.2 cm)
Klassik Stiftung Weimar, Herzogin Anna Amalia Bibliothek
ARTIST UNKNOWN
Exercise for preliminary course taught by Josef Albers
c. 1929 Photograph: Erich Consemüller
Gelatin silver print
6 7/8 x 4 15/16" (17.5 x 12.5 cm)
7 1/16 x 5 1/16" (18 x 12.8 cm)
Private collection
ARTIST UNKNOWN
Model (scale 1:100) of the Bauhaus Building, Dessau, designed by Walter Gropius Model realized 1999 (after building of 1925-26)
Wood, plexiglass, pasteboard adhesive
53 9/16 x 53 1/8 x 12 5/8" (136 x 135 x 32 cm)
Stiftung Bauhaus Dessau
ARTIST UNKNOWN
Wall hanging
late 1920s
Hand-woven wool, cotton, and cellophane threads, with brass loops
hand-stitched to top edge
27 1/2 x 42 5/16" (69.8 x 107.5 cm)
Private collection. Courtesy Neue Galerie New York
ARTIST UNKNOWN
Aerial view of Bauhaus building, Dessau, designed by Walter Gropius, seen from Southwest
Photograph: Junkers Luftbildzentrale. Fall 1926
Gelatin silver print postcard
3 9/16 x 5 1/2" (9.1 x 1
4 cm)
Bauhaus-Archiv Berlin
ARTIST UNKNOWN
Commercial postcard for Dessau showing Bauhaus building with airplane flying overhead
c. 1926
Gelatin silver print
M. Szarvasy Collection NYC
ARTIST UNKNOWN
Exercise for preliminary course taught by Josef Albers
c. 1929 Photograph: Erich Consemüller
Gelatin silver print
4 11/16 x 6 7/16" (11.9 x 16.3 cm)
The Josef and Anni Albers Foundation, Bethany, Conn.
ARTIST UNKNOWN
Folding chair (TI 240)
Designed 1929, this example produced in the early 1930s by Karl B?kenheide Beech, partially glued and stained, with steel-sheeted hinge, metal screws, and linen 37 3/8 x 24 x 34 5/8" (95 x 61 x 88 cm)
Stiftung Bauhaus Dessau
ARTIST UNKNOWN
Untitled (Lis Beyer)
February 20, 1929
Gelatin silver print
4 9/16 x 3 7/16" (11.6 x 8.7 cm)
Bauhaus-Archiv Berlin
ARTIST UNKNOWN
Roll of wallpaper
1931. Manufactured by Gebr. Rasch & Co., Bramsche
Printed paper
Width: 20 1/16" (51 cm)
Stiftung Bauhaus Dessau
ARTIST UNKNOWN
Bauhaus Druckstoffe (Bauhaus printed fabrics). Sample book
1932-1933
Canvas and acetate binding, cotton swatches
6 11/16 x 9 1/4" (1
7 x 23.5 cm)
The Museum of Modern Art, New York. Architecture & Design Study Center
THEO H. BALLMER Swiss, 1902-1965; at Bauhaus 1930
Eigenschaften der Emulsion (Properties of the emulsion)
Exercises for photography class taught by Walter Peterhans
c. 1929
Photographs and typewritten strips, mounted on card
11 3/4 x 16 1/2" (29.8 x 41.9 cm)
The J. Paul Getty Museum, Los Angeles
THEO H. BALLMER Swiss, 1902-1965; at Bauhaus 1930
Untitled (Light bulb)
c. 1929
Gelatin silver print
11 5/16 x 8 5/8" (28.7 x 21.9 cm)
The J. Paul Getty Museum, Los Angeles
EUGEN BATZ German, 1905-1986; at Bauhaus 1929-31
Exercise for color-theory course taught by Vasily Kandinsky
1929-30
Tempera over pencil on black paper
15 7/16 x 12 15/16" (39.2 x 32.9 cm)
Bauhaus-Archiv Berlin
EUGEN BATZ German, 1905-1986; at Bauhaus 1929-31
Exercise for color-theory course taught by Vasily Kandinsky
1929-1930
Tempera over pencil on black paper
16 5/8 x 12 15/16" (42.3 x 32.9 cm)
Bauhaus-Archiv Berlin
BAUHAUS STUDENTS AND FACULTY: Rudolf Baschant, Herbert Bayer,Lyonel Feininger, Paul Haberer, D?rte Helm, Ludwig Hirschfeld-Mack, Vasily Kandinsky,
Paul Klee, László Moholy-Nagy, Farkas Molnar, Oskar Schlemmer, Kurt Schmidt, and Georg Teltscher
Twenty postcards for the 1923 Bauhaus exhibition
1923
Color lithographs on cardboard
Each: c. 5 1.8 x 3 15.16" (15 x 10 cm), orientation varies
Bauhaus-Archiv Berlin
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Das Bauhaus in Dessau. Lehrplan (The Bauhaus in Dessau. Curriculum) November 1925
Letterpress on paper
11 5/8 x 8 1/4" (29.5 x 21 cm)
Collection Merrill C. Berman
Poster for Bauhaus "standard-tapete" (Standard wallpaper) manufactured by Gebr. Rasch & Co., Bramsche
c. 1927
Lithograph and adhered wallpaper sample on paper
19 3/4 x 12 3/4" (50.2 x 32.4 cm)
Collection Merrill C. Berman
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
10 Banknotes, designed for the State Bank of Thuringia
1923
Letterpress
each: 2 11/16 x 5 1/2" (6.8 x 14 cm)
The Museum of Modern Art, New York. Gift of Manfred Ludewig
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Banknotes designed for the State Bank of Thuringia
1923
2 11/16 x 5 1/2" (6.8 x 14 cm)
Collection Merrill C. Berman
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Design for a poster for the 1923 Bauhaus exhibition
1923
Gouache and black ink with pencil on paper
17 3/16 x 12 9/16" (43.6 x 31.9 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
LáSZLó MOHOLY-NAGY American, born Hungary. 1895-1946
Staatliches Bauhaus in Weimar 1919-1923
1923
Letterpress and lithograph
9 7/8 x 10" (25.1 x 25.5 cm)
The Museum of Modern Art, New York. Jan Tschichold Collection, Gift of Philip Johnson
Wall-painting design for the stairwell of the Weimar Bauhaus building on the occasion of the 1923 Bauhaus exhibition
1923
Gouache, pencil, and cut paper on paper
22 7/8 x 10 3/8" (58.1 x 26.4 cm)
Collection Merrill C. Berman
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Design for a cigarette pavillion
1924
Ink, tempera, pencil, and cut-and-pasted photomechanical elements on cardboard
19 7/8 x 14 15/16" (50.5 x 38 cm)
Bauhaus-Archiv Berlin
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Design for a cinema
1924-1925
Gouache, cut-and-pasted photomechanical and print elements, ink, and pencil on paper
21 1/2 x 24" (54.6 x 61 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Design for a multimedia building
1924
Gouache, cut-and-pasted photomechanical elements, charcoal, ink, and pencil on paper
21 1/2 x 18 7/16" (54.6 x 46.8 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Design for a newspaper stand
1924
Tempera and cut-and-pasted print elements on paper
25 3/8 x 13 9/16" (64.5 x 34.5 cm)
Bauhaus-Archiv Berlin
Design for an illuminated advertising sphere
1924
Ink, gouache, cut-and-pasted photomechanical element, and pencil traces on tan card, with incising and pin holes
20 5/8 x 19 5/16" (52.4 x 49.1 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Design for kiosk and display boards
1924
Gouache, ink, pencil, and cut-and-pasted print elements on paper
22 11/16 x 19 1/16" (57.7 x 48.4 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Das Bauhaus in Dessau, Katalog der Muster
1925
Letterpress
11 3/4 x 8 1/4" (29.8 x 21 cm)
The Museum of Modern Art, New York. Jan Tschichold Collection, Gift of Philip Johnson
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Design for "universal" lettering
1925
Ink on paper
11 3/4 x 23 5/8" (29.8 x 60 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Katalog der Muster (catalogue of designs), sales catalogue of Bauhaus objects 1925
Letterpress on paper
11 3/4 x 8 1/4" (29.8 x 21 cm)
Collection Merrill C. Berman
Cover of Bauhaus Dessau Hochschule für Gestaltung. Prospekt (Bauhaus Dessau college of design. Prospectus)
Dessau: Bauhaus, c. 1927
Letterpress and offset on paper
8 3/16 x 5 3/4" (20.8 x 14.6 cm)
Collection Merrill C. Berman
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Dessau, Deutschland, alte Kultur, neue Arbeitsst?tten
1926
Letterpress
8 1/4 x 4 1/8" (21 x 10.5 cm)
The Museum of Modern Art, New York. Jan Tschichold Collection, Gift of Philip Johnson
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Invitation to the inauguration of the Bauhaus building, Dessau, designed by Walter Gropius, on December 4-5, 1926
1926
Letterpress on paper
5 13/1
6 x 13 3/4" (14.8 x 34.9 cm), folded three times vertically to standard postcard size
Collection Merrill C. Berman
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Poster for Kandinsky Jubilaums-Ausstellung zum 60. Geburtstag (Exhibition celebrating Kandinsky’s sixtieth birthday)
1926
Letterpress and gravure
19 x 25" (48.2 x 63.5 cm) 19 x 25" (48.3 x 63.5 cm)
The Museum of Modern Art, New York. Gift of Mr. and Mrs. Alfred H. Barr, Jr.
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Poster for Architektur Lichtbilder Vortrag (Slide lecture on architecture) by the architect Hans Poelzig
1926
Lithograph on paper
18 7/8 x 25 1/2" (47.9 x 64.8 cm)
Collection Merrill C. Berman
Richtfest Bauhaus Neubau Einladung (Invitation to the topping-out ceremony for the new Bauhaus building [Dessau]) on March 21, 1926
1926
Lithograph on paper
6 x 8 3/8" (15.2 x 21.3 cm)
Collection Merrill C. Berman
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Breuer Metallm?bel (Breuer metal furniture). Loose-leaf sales catalogue for furniture offered by the Standard M?bel company, showing Breuer's B3 club armchair of 1925 c. 1927
Halftone and letterpress on paper
5 13/1
6 x 8 1/4" (14.8 x 21 cm)
The Board of Trustees of the Victoria and Albert Museum, London
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Der Direktor Bauhaus Dessau, Hochschule für Gestaltung
1927
Letterpress
11 11/16 x 8 1/4" (29.7 x 20.9 cm)
The Museum of Modern Art, New York. Jan Tschichold Collection, Gift of Philip Johnson
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Design for "universal" lettering
1927
Ink and gouache on paper
14 3/4 x 23 3/4" (37.5 x 60.4 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Hochschule für Gestaltung, Bauhaus Dessau
1927
Letterpress
5 7/8 x 8 1/4" (14.9 x 21 cm)
The Museum of Modern Art, New York. Jan Tschichold Collection, Gift of Philip Johnson
Poster for Ausstellung Europ?isches Kunstgewerbe (Exhibition of European decorative arts), Grassimuseum, Leipzig (March 6-August 15, 1927)
1927
Lithograph on paper
34 1/2 x 22 15/16" (87.6 x 58.2 cm)
Collection Merrill C. Berman
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Alle Kreise der Kulturwelt (All circles of the world of culture). Advertising brochure for bauhaus magazine.
1928
Letterpress
Folded: 4 3/16 x 5 7/8" (10.5 x 14.8 cm); unfolded: 8 1/4 x 11 3/4" (21 x 29.7 cm) The Museum of Modern Art, New York. Jan Tschichold Collection, Gift of Philip Johnson
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Eiserne Wendeltreppe (Iron winding stair). Pont transbordeur, Marseille.
1928
Gelatin silver print
13 7/8 x 9 5/8" (35.3 x 24.4 cm)
The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Thomas Walther
HERBERT BAYER Austrian, 1900-1985; at Bauhaus 1921-28
Untitled (Sundeck)
1930
Gelatin silver print
8 x 11 3/8" (20.3 x 28.9 cm)
The Museum of Modern Art, New York. David H. McAlpin Fund
CHARLOTTE (LOTTE) BEESE German, 1903-1988; at Bauhaus 1926-29
Untitled
(Bauhaus group)
1928
Gelatin silver print
3 3/8" (8.5 cm). Mount: 5 13/16 x 5 1/2" (14.7 x 1
4 cm)
The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Thomas Walther
Curtain
c. 1930
Linen, cotton, rayon, and other yarns, in rib and twill weave
86 5/8 x 55 7/8" (220 x 142 cm)
Bauhaus-Archiv Berlin
OTTI BERGER Yugoslavian, 1898-1945; at Bauhaus 1926-32
Tasttafel (touch panel) made for preliminary course taught by Laszlo Moholy-Nagy 1928
Threads and board on wire backing with loosely attached multicolored square paper cards
5 1/2 x 22 7/16" (14 x 57 cm)
Bauhaus-Archiv Berlin
THEODOR BOGLER German, 1897-1968; at Bauhaus 1919-25
Double pitcher
1922
High-fired glazed earthenware, free-thrown and assembled
Height: 9 1/16" (23 cm)
Klassik-Stiftung Weimar, Bauhaus-Museum
THEODOR BOGLER German, 1897-1968; at Bauhaus 1919-25
GERHARD MARCKS German, 1889-1981; at Bauhaus 1919-25
Double Pitcher
1922
High-fired glazed earthenware, free thrown and assembled with painted slip decoration
Height: 12 1/2" (31.8 cm)
Klassik Stiftung Weimar, Bauhaus-Museum
THEODOR BOGLER German, 1897-1968; at Bauhaus 1919-25
Selected pieces from teaset
1923
Metallic-glazed earthenware, cast, free-thrown, and assembled
Teapot: 4 5/8 x 9 1/2" (11.7 x 24 cm) diam.: 6 1/4" (16 cm)
Teapot lid: 1 x 2 3/4" (2.6 x 7 cm)
Extra teapot: 2 15/16 x 4 5/8" (7.4 x 11.7 cm)
Extra teapot lid: 1 1/8 x 2 5/16" (2.8 x 5.9 cm)
Sugarbowl: 4 5/16 x 1 3/4" (11 x 4.4 cm)
Cup: 4 3/16 x 1 3/4" (10.7 x 4.4 cm)
Saucer: 6 5/16 x 13/16" (16.1 x 2.1 cm)
Plate: 7 7/16 x 1" (18.9 x 2.6 cm)
Neue Galerie, New York
HEINRICH-SIEGFRIED BORMANN German, 1909-1982; at Bauhaus 1930-33 Visual analysis of a piece of music, from a color-theory class with Vasily Kandinsky October 21, 1930
Ink and gouache over pencil on paper
18 7/8 x 24 3/16" (48 x 61.5 cm)
Bauhaus-Archiv Berlin
HEINRICH-SIEGFRIED BORMANN German, 1909-1982; at Bauhaus 1930-33 Designs for wallpaper. One sheet from a set of five, each with six designs
1931
Chalk pastel, rubbed over textured paper
Each design: 3 x 2 3/16" (7.6 x 5.5 cm)
Overall sheet: 8 1/4 x 11 13/16" (21 x 30 cm)
Stiftung Bauhaus Dessau
HEINRICH-SIEGFRIED BORMANN German, 1909-1982; at Bauhaus 1930-33 Designs for wallpaper. One sheet from a set of five, each with six designs
1931
Chalk pastel on paper, rubbed over texture
Each design: 2 3/16 x 3" (5.5 x 7.6 cm); Overall sheet: 8 1/4 x 11 13/16" (21 x 30 cm) Stiftung Bauhaus Dessau
HEINRICH-SIEGFRIED BORMANN German, 1909-1982; at Bauhaus 1930-33 Designs for wallpaper. One sheet from a set of five, each with six designs
1931
Chalk pastel on paper, rubbed over texture
Each design: 2 3/16 x 3" (5.5 x 7.6 cm); overall sheet: 8 1/4 x 11 13/16" (21 x 30 cm) Stiftung Bauhaus Dessau
HEINRICH-SIEGFRIED BORMANN German, 1909-1982; at Bauhaus 1930-33 Desk Lamp
1932
Manufactured by K?rting & Mathiesen (Kandem no. 934)
Nickel-plated-aluminum shade, tubular nickel-plated-brass arm and base, all external parts black lacquer
Height: 18 1/8" (46 cm), diameter: 6 5/16" (16 cm)
Manufacturer: K?rting & Mathiesen
Bauhaus-Archiv Berlin
ALEXANDER (SáNDOR) BORTNYIK Hungarian, 1893-1976
Untitled (Geometric Forms in Space)
1923
Oil on canvas
18 1/4 x 23 5/8" (46.4 x 60 cm)
The Museum of Modern Art, New York. The Riklis Collection of McCrory Corporation
MARIANNE BRANDT German, 1893-1983; at Bauhaus 1923-30
Ashtray
1924
Brass and nickel-plated brass
2 5/8 x
3 1/8" (6.7 x 7.9 cm)
Manufacturer: Bauhaus Metal Workshop, Germany
The Museum of Modern Art, New York. Gift of John McAndrew
MARIANNE BRANDT German, 1893-1983; at Bauhaus 1923-30
Ashtray
1924
Brass and nickel-plated metal
2 3/4 x
3 1/8" (7 x 7.9 cm) diam. 3 1/8"
Manufacturer: Bauhaus Metal Workshop, Germany
The Museum of Modern Art, New York. Gift of John McAndrew
MARIANNE BRANDT German, 1893-1983; at Bauhaus 1923-30
Ashtray (MT 36)
1924
Brass and nickel-plated brass
Height: 2 3/8" (6 cm), diam.: 4 3.8" (11.1 cm)
Private collection. Courtesy Neue Galerie, New York
MARIANNE BRANDT German, 1893-1983; at Bauhaus 1923-30
Coffee and tea set (MT 50, MT 51, MT 52, MT 53, MT 54, MT 55a)
1924
Silver and ebony, lid of sugar bowl made of glass
Tray: 13 x 20 1/4" (33 x 51.5 cm)
Kettle: 9 1/16" (23 cm)
Teapot: 7 1/2" (19 cm)
Coffeepot: 9 1/4" (23.5 cm)
Sugarbowl: 2 3/8" (6 cm)
Creamer: 5 5/16" (13.5 cm)
Bauhaus-Archiv Berlin. Purchased with funds from the Stiftung Deutsche Klassenlotterie Berlin
Inkpot with pen holder
1924
Copper sheeting, nickel silver
1 3/16 x 4 5/8 x
2 9/16" (
3 x 11.7 x 6.5 cm)
Bauhaus-Archiv Berlin
MARIANNE BRANDT German, 1893-1983; at Bauhaus 1923-30 Samovar
1925
Nickel-plated copper alloy
Height: 12 3/4" (32.3 cm), width: 10 1./2" (26.6 cm), diam.: 7 1/4" (18.3) Collection Renée Price. Courtesy Neue Galerie, New York
MARIANNE BRANDT German, 1893-1983; at Bauhaus 1923-30 Ceiling light
1926
Brushed aluminum sheeting
Diameter 15 15/16" (40.5 cm)
Bauhaus-Archiv Berlin
MARIANNE BRANDT German, 1893-1983; at Bauhaus 1923-30 HANS PRZYREMBEL German, 1900-1945; at Bauhaus 1924-28 Ceiling light (ME 105a)
1926
Nickel-plated sheet brass, with granulated-lead-filled weight diameter: 11 7/16" (29 cm)
Bauhaus-Archiv Berlin
MARIANNE BRANDT German, 1893-1983; at Bauhaus 1923-30 Ceiling light (ME 104a)
1926
Opal glass and nickel-plated brass
Height: 34 1/4" (87 cm), diameter: 9 13/16" (25 cm)
Bauhaus-Archiv Berlin
包豪斯的极简主义设计作品展解读
包豪斯（Bauhaus）作为一种设计体系在当年风靡整个世界，在现代工业设计领域中，它的思想和美学趣味可以说整整影响一代人。包豪斯对设计的要求是形象上它不采取模仿何种风格样式，也不作装饰点缀，只是采取简洁和线条分明的设计。简洁又实用是包豪斯时代的标志，也是我们时代的标志之一。在3月19日深圳家具展上，由包豪斯的设计师们带来的一系列作品展现了包豪斯一贯的简约和功能主义风格。用金属，夹板，塑料和玻璃制造的几何概念作品，多以圆形和方形，或者其它空间感较强的立体图形构成，给人以新颖时尚的都市现代感。可以看到，包豪斯家居产品的色泽普遍采用冷色调的黑白两色，少有的红色或者圆形图案也是凸显了它的简洁概念。这盏红白相间的灯，没有任何花纹，仅仅以圆形的流线设计和红色展台来延伸它的时代感，不愧为实用主义的倡导者。包豪斯千件作品庆建校90周年“很多人对于包豪斯代表了什么有自己清晰的见解，但那只是故事的一部分。”包豪斯柏林分部校长Annemarie Jaeggi说，“我们想向大家展示它在不同时期吸收了不同的概念并发展出不同的形态。” 这个（并不那么）“清晰”的关于包豪斯的概念属于1926年至1928年的时期，当时校舍刚搬迁到德绍。这一由格罗皮乌斯亲自设计的建筑是早期现代主义建筑的典范，其形象也在此后成为了包豪斯的标志。而其教师队伍中囊括了很多20世纪最伟大的艺术家和设计师：约瑟夫?阿尔伯斯（Josef Albers）、瓦西里?康定斯基（Wassily Kandinsky），还有保罗?克利（Paul Klee）；拜耶教绘画，布罗威尔教家具设计，拉斯洛?莫霍利－纳吉（Laszlo Moholy-Nagy）教工业设计，奥斯卡?施莱默（Oskar Schlemmer）教表演，京塔?施托尔茨（Gunta Stlzl）教纺织，而格罗皮乌斯亲自教授建筑。格罗皮乌斯设计的冰川般优雅的校舍里装满了布罗威尔的闪闪发光的玻璃以及金属家具，并形成了无法磨灭的“包豪斯风格”，对于普罗大众而言，这种风格迅速与“现代风格”密不可分了。布罗威尔1926年设计的俱乐部椅包豪斯的极简主义设计作品展康定斯基作于1924年的无题作品德绍时期技术层面的绚烂华丽虽然很诱人，但只是包豪斯的一个篇章，正如Jaeggi博士指出的那样。包豪斯在魏玛的早年时期因格罗皮乌斯和教师约翰内斯?伊滕（Johannes Itten）之间的权力斗争而蒙上了阴云，后者是后来非常流行的拜火教成员，对于本能的、精神上的发展创造力的方
包豪斯设计理念
包豪斯设计理念 包豪斯设计学院的对现代设计理念启示主要体现在以下三方面: 一、为大众服务 格罗佩斯本人的思想具有鲜明的民主色彩和社会主义特征。他提出设计的目的不是专为达官族服务，而是“为大众设计和为工业化’。在建筑方面，洛可可和文艺复兴时的建筑特征成为包豪斯反对的对象，提倡设计出符合现代社会功能性的设计作品，并尽量节省材料、费用和劳动力的时间。包豪斯采用钢筋混凝土、玻璃、钢材等作为建筑的基本材料，目采用简单的、装饰很少的设计，所有这些努力都是为了降低建筑的造价，使人民大众部能够受到相对廉价的住宅空间。在视觉传达设计方面，包豪斯采用尽量简洁的版面编排和无装饰性的字体，降低书籍等印刷品的印刷费用，包豪斯在这些方面的努力真正做到了设计为全社会服务的目的。 包豪斯强调设计的目的是为“人”服务，为此把功能性放在首位，然后把时代的美学特征加入到设计之中，反对单纯为了外部美而设计的观念，艺术与技术相统一的设计思想使人们更加注重与大式业生产力式相结合，最终有利于使思想上的产品为大众服务付诸于实际，而不是仅仅停留在愿望和思考阶段上，在教学实践中，设计师们对设计好坏的评价标准也不仅仅是形式美，而是着眼于结构、功能、造价等整体的设计，新的设计思想应运而生，从简化设计产品的外形人手，以简湖的几何造型为主流，这种设计语言更加适合大工业生产批量化、标准化的生产需要，指明了现代艺术设计教育的方向。 二、技术和艺术的统一 1919年的4月1日格罗佩斯拟定的《包豪斯宣言》发表，宣言中指出:“艺术不是一门专门职业，艺术家与工艺技术人员之间并没有本质区别，艺术家只是—个得意忘形的工艺技师。在灵感出现并目超出个人一直的那个珍贵瞬间，上苍的恩赐
包豪斯与平面设计
包豪斯与平面设计 包豪斯是现代主义艺术设计运动发展到高峰时期的符号，它的建立也不是偶然的。包豪斯是在现代主义艺术设计运动兴起与发展的各方面条件在20世纪20年代均已经成熟情况下的集大成者。 对于平面设计来说，包豪斯所奠定的思想基础和风格基础，也是决定性的，重要的。战后的国际主义平面风格在很大程度上是在包豪斯的基础上发展起来的，本文仅就包豪斯对于平面设计的影响做简单介绍。 平面设计的历史悠久，它的起源可以追述到人类文明的初期，具有平面设计意义的作品自古有之，古老的岩穴壁画可以看作是最为原始的平面设计作品。经过中世纪，文艺复兴，工业化时代等几千年的不断发展，平面设计发展到了一个新的阶段—现代平面设计。平面设计因与印刷相联系，因此往往受到印刷服务对象的限制和要求的影响，从而与各个不同时代的社会背景发生密切的关系。在现代平面设计史上，公元1919年是一个重要的转折点。 第一次世界大战刚刚结束，欧洲仍笼罩在战争的阴影之中，社会动荡，思想巨变，各国的经济和文化在不同程度上都遭到了严重的破坏，战败后的德国又掀起了“十一月革命”，国内的知识分子在巴黎，意大利，荷兰，苏联等各国传播近来的新思想的鼓舞下，抱着对祖国狂热的改革理想，积极投身到重建德国的各项工作中，公元1919年包豪斯就在这样的背景下诞生了。 从1919年包豪斯成立到1933年包豪斯解体，在短短14年间，包豪斯经历了早、中、晚三个发展时期：以沃尔特·格罗庇乌斯为校长的早期发展阶段、以及汉斯·迈耶为校长的中期发展阶段和以米斯·凡·德·罗为校长的晚期发展阶段。这三个不同的发展阶段，不仅表明了包豪斯的艺术设计教育思想发展的历程，而且反映了当时德国乃至世界社会生活的复杂性。三任校长的设计教育思想的主导倾向，实质上是包豪斯在十余年间艺术设计教育发展的曲线图。 第一阶段(1919—1925年)，魏玛时期共有三批教员，在平面史上，1922年的莫霍里纳吉和拜耶在一起重新打造了一种图形设计的新理念。在他们的领导下，包豪斯的图形设计更加强调几何形式，表现出一种棱角分明的、机器时代的美感其中基本图形有着更加重要的地位。纳吉最大限度的利用了几何图形的全部潜质，包括空白的背景，略带图解的方法，充分融合的图形语言，包括现代的印刷版面、几何图形、规范的线条、有限的色块和“积极”的而非消极的空间。他相信简单的结果力量，并且利用平面来表达这种力量。纳吉为包豪斯创作了很多平面设计作品，其中包括包豪斯大的信纸页面，1923年为展览会设计的海报，1928年为格罗佩斯的《迪索包豪斯建筑》设计的封面等，每一项都显示了他对传统公式化模式的一贯排斥，以及基于“构成“的角度对内部元素的重新组合。强调几何元素的不对称性平衡，结构严谨，完全不采用任何装饰细节，简明扼要，主题鲜明，具有时代感，体现了他对俄国构成主义的明显追求。他的立场和方法在学生中产生了很大的影响。进而促进了包豪斯在平民设计领域的构成主义风格的建立。 第二阶段(1925—1932年)，狄索时期。包豪斯在德国德绍重建，并进行课程改革，实行了设计与制作教学一体化的教学方法，取得了优异成果。1928年格罗皮乌斯辞去包豪斯校长职务，由建筑系主任汉内斯·梅耶（HANNS MEYER）继任。这位共产党人出身的建筑师，将包豪斯的艺术激进扩大到政治激进，从而使包豪斯面临着越来越大的政治压力。最后梅耶本人也不得不于1930年辞职离任，由L·密斯·凡·德·罗（L MIES VAN DE ROHE）继任。接任的密斯面对来自纳粹势力的压力，竭尽全力维持着学校的运转，终于在1932年10月纳粹党占据德绍后，被迫关闭包豪斯；
优秀论文包豪斯设计
包豪斯教育体制与教学法的特点 一、包豪斯的含义： 包豪斯（Bauhaus，1919/4/1—1933/7），是德国魏玛市的“公立包豪斯学校”）的简称，后改称“设计学院”，习惯上仍沿称“包豪斯”。在两德统一后位于魏玛的设计学院更名为魏玛包豪斯大学。她的成立标志着现代设计的诞生，对世界现代设计的发展产生了深远的影响，包豪斯也是世界上第一所完全为发展现代设计教育而建立的学院。“包豪斯”一词是格罗披乌斯生造出来的，是德语Bauhaus的译音，由德语Hausbau（房屋建筑）一词倒置而成。 二、以包豪斯命名的深层含义： 第一，狭义的讲，格罗皮乌斯把艺术设计和建筑看做同源的，艺术设计应该像建筑一样，把各种空间艺术统一于一体，恢复、重建艺术和技术、艺术创作和生产活动的联系；第二，广义的讲，“建筑之家”作为“大厦”（Der Grosse bau）是一种理想、象征和隐喻，指人们居住的物质环境。 因此，在现代设计史上，在公元1919年成了一个重要的起点，在这一年的4月1日创立的“国立包豪斯设计学校”，是世界上第一所真正为发展现代设计教育而建立的学院，是适应工业时代需要的艺术教育史上的质的飞跃。如果说其他同类学校仅仅通过调整课程、加强工场的实习来适应新的需要，那么，包豪斯对传统的艺术教育体制进行了彻底变革，这不仅指新型的职业——艺术设计的确立，而且指新型的职业个性的培养。 三、包豪斯的发展阶段: 第一阶段(1919--1925年)魏玛时期
格罗皮乌斯（Walter Gropius,1883-1969)任校长，提出“艺术与技术的新统一”的崇高理想，肩负起训练二十世纪设计家和建筑师的神圣使命。他广招贤能，聘任艺术家与手工匠师授课，形成艺术教育与手工制作相结合的新型教育制度。 第二阶段(1925-1932年)迪索时期 包豪斯在德国迪索重建，并进行课程改革，实行了设计与制作教学一体化的教学方法，取得了优异成果。这个时期是其高峰时期。1928年格罗皮乌斯辞去包豪斯校长职务，由建筑系主任汉内斯·迈耶(HannesMeyer，1889-1954)继任。这位共产党员建筑师将包豪斯的艺术激进扩大到政治激进，从而使包豪斯面临着越来越大的政治压力。最后迈耶本人也不得不于1930年辞职离任，由米斯·凡·德洛(Mies Van de Rohe,1886-1969)继任。接任的米斯面对来自纳粹势力的压力，竭尽全力维持着学校的运转，终于在1932年10月纳粹党占据迪索后，被迫关闭包豪斯。 第三阶段(1932-1933年)柏林时期 米斯·凡·德洛将学校迁至柏林的一座废弃的办公楼中试图重整旗鼓，由于包豪斯精神为德国纳粹所不容，面对刚刚于1933年正式上台的纳粹政府，米斯终于回天无力，于该年8月宣布包豪斯永久关闭。1933年11月包豪斯被封闭，不得不结束其14年的发展历程。柏林时期仅有6个月的时间。 四、包豪斯的教学： 包豪斯的创始人格罗皮乌斯针对工业革命以来所出现的大工业生产“技术与艺术相对峙”的状况，提出了“艺术与技术新统一”的口号，这一理论逐渐成为包
包豪斯作品
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包豪斯的设计及其
包豪斯的设计及其 深远影响 国际现代设计艺术学院 视觉一班 赵丹阳 20101100522
包豪斯的设计及其深远影响 一、包豪斯的形成和发展 从英国工艺美术运动开始，不少设计师在从事艺术与工业化生产结合的实践过程中，对艺术与机器的结合、艺术与经济的结合，以及在现代工业化生产条件下，艺术设计的内涵、风格、特征等进行了大量的探讨，其结果不仅使现代意义上的设计思想理论体系逐步形成，而且还导致了现代主义教育体系——包豪斯的出现。 在很大程度上说，包豪斯的出现，对现代设计艺术理论、现代主义设计艺术教育和实践，以及后来的设计美学思想等方面的作用都具有划时代的意义，它把欧洲现代主义设计艺术理论和实践推向了巅峰。同时也为德国第一次世界大战后的工业设计奠定了基础，为以后设计艺术教育体系搭建了基本的框架。 包豪斯是世界上第一所完全为发展现代设计教育而建立的学院。“包豪斯”一词是格罗披乌斯生造出来的，是德语Bauhaus的译音，由德语Hausbau（房屋建筑）一词倒置而成。 她的成立标志着现代设计的诞生。以包豪斯为基地，20世纪20年代形成了现代建筑中的一个重要派别──现代主义建筑，主张适应现代大工业生产和生活需要，以讲求建能、技术和经济效益为特征的学派。包豪斯一词又指这个学派。 瓦尔特?格罗披乌斯 1914年，格罗佩斯接替范·德·维尔德，担任魏玛工艺美术学校校长。 1919年3月20日，在格罗佩斯的积极组织和筹划下，魏玛美术学院和魏玛工艺美术学校合并成一所设计学院，取名国立魏玛包豪斯，简称包豪斯，格罗佩斯任第一任校长，并亲自设计了校舍。这是一所以建筑为主，包括纺织、陶瓷、金工、玻璃、印刷、舞台美术及壁画等众多专业的设计学校。
包豪斯与平面设计
欧洲整整半个世纪的探索和试验，在包豪斯学界院中终于得以完善，形成体系，影响世，对于平面设计来说，包豪斯所奠定的思想基础和风格基础，也是决定性的，重要的。战后的国际主义平面风格在很大程度上是在包豪斯的基础上发展起来的，本文仅就包豪斯对于平面设计的影响做简单介绍。 在平面设计方面，包豪斯奠定了现代平面的观念和风格，并对战后形成的国际主义平面风格起到了决定性的作用。在包豪斯教师中，康丁斯基，保罗克利，约翰内斯依顿和奥尼尔费宁格，莫霍里-纳吉等著名艺术家和设计师在教学中综合了立体主义，达达主义，风格派，构成主义，超现实主义等各种流派的新观念，把绘画，色彩，摄影，材料，印刷工艺等方面的研究成果引入到教学和设计中，把在这之前和同一时期欧洲对现代平面设计的探索集中起来，发展出具有典型现代特色的新的平面设计风格。 包豪斯的平面设计基本是在荷兰的“风格派”和俄国的“构成主义”双方的影响下形成的，因此，具有高度理性化，功能化，简单化，减少主义化和几何形式化的特点。突出贡献的重要人物是莫霍里-纳吉（Laszli Mohony-Nagy,1895_1946）和赫伯特拜耶（Herbert Bayer,生于1900）。 莫霍里-纳吉是匈牙利人，是卓有成就的思想家，教育家和设计师。也是包豪斯设计学校的核心人物。在包豪斯期间，他既是学校的教师，同时也创作了大量的设计作品。特别是书籍设计，体现了他对于俄国构成主义的明显追求，他的设计强调几何结构
的非对称性平衡，严谨的结构，完全不采用任何装饰细节等，具有简单扼要，主题鲜明和具有时代感等特点。他接受了构成主义思想，擅长把自己对现代设计的理解和研究成果转化到设计作品中，如对现代印刷字体的创造与运用，电影的蒙太奇手段，摄影作品的拼贴等，他非常强调设计的构思与创意，而把制作看作是第二位的工作，具有新意的构思能够产生有创造的画面，可以表达幻想和超越时空的想象力。他注重空间比例分割，色彩的对比调和，抽象的构成方法，构成文字化图形的结合，简洁鲜明，达到了迅速传达信息的作用。莫霍里-纳吉是大量采用照片拼贴和抽象摄影技术来从事平面设计的先锋人物之一，他在这一时期拍了许多抽象照片。通过把细节放大或特殊角度处理等方法，他从具体形象中抽象出没有具象的形象，表现出非常强烈的现代感。利用鸟瞰角度，显微等方法达到非常特殊的效果是纳吉摄影设计的特色，他的影响下，包豪斯把摄影提高到绘画的高度，使摄影在后来的设计教育中具有极为重要的位置。 拜耶生于奥地利，1921年来魏玛求学，进入包豪斯，成为康丁斯基和纳吉的学生。因为学业优秀，他在包豪斯毕业后留校认教，在平面设计，摄影，展览设计，建筑设计等方面都有非常特殊的才能。在1952年期间，他负责包豪斯的印刷设计系，他把魏玛包豪斯一个单纯为石板印刷，木刻和其他艺术服务的印刷系改造成为一个主要采用活字印刷，机械化生产的新专业。拜耶注重字体和意想的结合，他创造的具有包豪斯现代风格的无边饰字