[Original submitted as assignment for ART HISTORY class]

The Bauhaus is a much-beloved and, arguably, influential early twentieth-century art school from Germany. However, most of its devotees don't realize how complicated the relationship is between its leadership and various intersections of class: social, racial, and gender. This paper explores the conditions that were in place to propel the Bauhaus to its influence, demonstrates how effective the founder, Walter Gropius, was at extending its influence, and exposes the reality behind the curtains.

While there have been many positive outcomes from the 14-year existence of the school, it's important to also understand what has been missed in omitting the not-so-rosy parts of the Bauhaus' history.

The first part of the Twentieth Century was a period of upheaval and unrest, to say the least.

Politically, several conflicts in the early 1900s (even before World War I broke out) created rifts on the European continent and beyond. The period of 1871-1914 was also the "age of imperialism," with industrialization in full bloom worldwide and prosperity growing in Western Europe, in particular. All of this prosperity led to the desire for more power instead of stability.

For everyday people, modern life meant different things. Across Europe, people were ideologically divided (this would continue for decades). Some saw the world changing too fast, while others thought it couldn't change fast enough.

Cartel de presentación Para una exposición de Die Brücke by Ernst Ludwig Kirchner

This division was represented in art as well. The Die Brücke (The Bridge) art movement was formed from alienation from the modern world and a disdain for industrialization. They sought out "art which could express such emotional responses with greater force and intensity, beyond the confines of an outward-looking Impressionist and Post-Impressionist oeuvre." (National Galleries Scotland, 2018)

Contrast this with Der Blaue Reiter's (The Blue Rider) Expressionist group, founded by Franz Marc and Wassily Kandinsky (also in Germany). Though they were equally focused on expressing emotion (and spiritual truths) through art, they seemed to embrace modern advancements, especially in science.

Abstract artists like Picasso and Cezanne also embraced the uncertainty brought by science. Because nothing was what it seemed to be any longer, it stood to reason that abstract compositions were as real as anything else. In Italy, the Futurists completely embraced modernism, writing their own manifesto that "celebrated all that was new, technology, urban landscapes, machines, speed, change." (Gavriliu, n.d., p. 9)

Femme au béret et à la robe quadrillée by Pablo Picasso

Everything was changing and thrown into question, and various artists and art movements dealt with these changes in their own manner. As Paul Trachtman writes in the Smithsonian Magazine: "In the years before World War I, Europe appeared to be losing its hold on reality." (Trachtman, 2006) But if reality had become unglued before the war, it would come rushing back in an all-too-real way during the war.

After the war broke out in 1914, and fear, death, and destruction became a daily reality, a whole new level of coping would need to come into being. Dada's response to the horrors of war and the conditions that led Europe to it was through irrationality and absurdity.

Dada was the balm for the brutality of war. If everything that modern, rational, advanced society led to this, then the only way to "fix" it was to respond with the exact opposite ideas. Instead of planning and analyzing rationally, outcomes should be spontaneous and left to chance. Instead of conforming to order, you should respond with anarchy and chaos. Rather than certainty, try experimentation.

Dadaism was less about a specific style or aesthetic. Ideas bound the members of this movement. In fact, it would have been antithetical to the idea of Dada to have a distinguishable style. One of the fundamental ideas of Dadaism was to throw out the concept of what makes something "art" altogether.

And though it may seem that the ideas behind Dada would be irreconcilable with those of the Bauhaus, the same conditions that birthed Dada would give life to the Bauhaus. Because "by attacking convention and logic, the Dada artists unlocked new avenues for creative invention, thereby fostering a more serious examination of the basic premises of art." (Kleiner, 2009, p. 393)

Birth of the Bauhaus

Like Dada, Bauhaus was (and is) not a style. Unlike Dada, though, It wasn't really a movement, either. Though the influence of the Bauhaus has reached far into today’s design thinking, the roots of this influence are complicated.

Brought to life in 1919 with the publication of Programm des Staatlichen Bauhauses, a four-page pamphlet promoting a new type of "arts and crafts" school in Weimar, Germany. More than an informational brochure, the contents read like a manifesto, outlining Walter Gropius' vision for the school.

The pamphlet's cover was dominated by a woodblock print of a Gothic cathedral by Bauhaus founding member Lyonel Feininger. According to Magdalena Drost, an art historian specializing in Bauhaus, the cathedral represented a return to collective craftsmanship. At the time of the printing, the Gothic period was romanticized as a time of egalitarian collaboration between craftsmen. (2018) The three stars emitting light rays represent painting, architecture and sculpture, the triad of dominant art forms during this time. Their rays beckon the artists and artisans to unite collectively in the cathedral, representing the school.

The second page contains an editorial letter written by Gropius. It reads like a manifesto (Gropius would go on to call it one) with its strong proclamations and statements such as: “Architects, sculptors, painters—we all must return to craftsmanship!” and “Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting…” (Ibid.)

This introduction to the new direction of the school lays down one of the fundamental premises behind the Bauhaus (which translates to “building house” or “architecture house”): there is no distinction between fine art and applied art. There is also nothing to be gained from separating the artistic disciplines.

Another fundamental idea was what made the Bauhaus so attractive to potential students and teachers at the time. Interdisciplinary education is pretty standard today, but it is a new concept. Students of the Bauhaus would learn a craft (picking a specific discipline to train in), but then everyone was to learn painting and drawing as well as science and theory. Another required part of the curriculum was that every student began with a Preliminary Course that indoctrinated them in the ways of the Bauhaus.

The craft workshops listed on the offering included sculpting, stonemasonry, stucco work, woodcarving, ceramic creation, plaster casting, blacksmithing, locksmithing, metalworking, cabinetmaking, painting and decorating, glass painting, mosaic making, enamelling, and etching. More workshops, such as dance theatre and weaving, would be added over time.

One thing that you could say about Gropius was that he was a master of storytelling and promotion. This message resonated, and the school attracted many talented (and sometimes well-established) instructors and bright students. The roster of design influencers included Ludwig Mies van der Rohe, Wassily Kandinsky, Marcel Breuer, Paul Klee, Marianne Brandt, Josef Albers, Anni Albers, Gunta Stölzl, Lily Reich, and Wilhelm Wagenfeld.

Though the school would go through three directors - Gropius (1919-1928), Hannes Meyer (1928-1930), and Ludwig Mies van der Rohe (1930-1933) - and move between three cities - Weimar (1919-1925), Dessau (1925-1932), and Berlin (1932-1933) - in its short 14-year existence, the impact of the ideas birthed in the workshops would outsize the school.

The students and instructors would go on to spread “the Bauhaus approach” worldwide, with many of the outputs of their time in the workshops still available for purchase (as well as replicas) today. The figures shown over the next few pages are a sample of the furniture, textiles, lighting fixtures, and consumer products you may recognize as being in your own home.

The Bauhaus and Class

Classism, according to the Merriam-Webster Dictionary is “a belief that a person's social or economic station in society determines their value in that society.” (2022) When examining class, it’s difficult to completely separate it from other forms or discrimination such as race or gender. There is a lot of intersectionality at play when it comes to race, gender and class, especially when examining discrimination and social inequality.

In the aforementioned Programm des Staatlichen Bauhauses, Gropius wrote:

Any person of good repute, without regard to age or sex, whose previous education is deemed adequate by the Council of Masters, will be admitted, as far as space permits. (Gropius, 1919)

Even though many women were attending university by this time, the inclusion of “sex” in this call-out was radical and open. The new vision and this open call attracted many women and foreign students. According to the Bauhaus Kooperation, a non-profit that promotes historical collections, of the 150-200 students in attendance, 25-50% were women, and 17-33% were foreign students, depending on the semester. (2017)

In theory, this was a fantastic achievement of the school's aims, but in reality, this didn’t sit well with Mobius or the other powers that be. While outwardly, lipservice was being paid to openness and equality and all sorts of utopic ideals, inwardly, there were class, race, and gender issues that conflicted with the progressive image.

I. Social Class

The Bauhaus approach of using “rational design” and “economy of form” (Bayer, 1938) is quite often misinterpreted as an approach that would “serve the people.”

In a 2019 Quartz video titled, Bauhaus design is everywhere, but its roots are political, narrator Michael Tabb laments that “The story of the Bauhaus is a lesson in how easily the political can be co-opted by the commercial.” (0:53) However, what Tabb gets pretty wrong here is that the Bauhaus was always meant to be a commercial endeavour, and, apart from Hannes Meyer’s presence as the second director of the school, it shied away from politics to achieve this goal.

Even in the Programm des Staatlichen Bauhauses, it was clear that the workshops' fruits would be commercialized. The money earned from selling these designs would improve the school and lower attendance costs. It’s a perfect capitalist model. The students would pay to produce designs that would be sold, and, in turn, they wouldn’t have to pay any longer.

For whatever reason, though, Gropius could not capitalize fully on his students’ talents, and it wasn’t until Meyer’s directorship that the school started to become profitable. The weaving workshop was the most profitable center, with several textile designs licensed worldwide. Many of these designs are still being used by companies like Knoll and Designtex.

However, the idea that the Bauhaus was some sort of political/utopian zone was planted after the fact. In a New York Times opinion piece in 2019, Barry Bergdoll wrote “Bauhaus was a school, never a static style or a single-minded movement.” Instead, he establishes, it was a “vibrant art school” that did well in its time but whose legend was carefully constructed after the fact:

Bergdoll goes on to say that, though he doesn’t say it explicitly, Gropius “strongly implied that the Bauhaus had designed the modern architecture of democracy.” (Ibid.) This may be a harsh opinion, but upon reading the book Herbert Bayer and Gropius published for the exhibition, it’s clear that the Bauhaus approach was never about making the design more accessible to common, nor was it a way to fight Fascist ideology. It was 10 percent about aligning artistic expression with industrialization:

Cover of the 1938 MOMA Publication, edited by Herbert Bayer, Walter Gropius, and Ise Gropius.

(F)rom the very beginning, (Gropius) differed from his contemporaries in the driving earnestness with which he attacked the problem of reconciling art and industrialized society.
As early as 1910 he and his master, the architect Behrens, had drafted a Memorandum on the Industrial Prefabrication of Houses on a Unified Artistic Basis. The idea of the prefabricated house was borrowed from the United States, but Gropius’ insistence on solving the problem on a “unified artistic basis” was a new move toward the synthesis of technology and art. (Bayer, 1938, p. 13-14)

Gropius was no philanthropist or man of the people. His statement of “equality” in admission standards wasn’t a feminist statement. Gropius was ambitious. He was enterprising. I would even classify him as an early Libertarian. On the issue of industrialization making the worker feel dehumanized, he wrote:

Mechanized work is lifeless, proper only to the lifeless machine. So long, however, as machine-economy remains an end in itself rather than a means of freeing the intellect from the burden of mechanical labor, the individual will remain enslaved and society will remain disordered. The solution depends on a change in the individual’s attitude toward his work, not on the betterment of his outward circumstances, and the acceptance of this new principle is of decisive importance for new creative work. (p. 22)

As Emory University art historian Todd Cronan points out in an article in the LA Times Review of Books:

This is the background for Gropius’ famous declaration in the Bauhaus manifesto to “create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist!”[12] Gropius takes aim at class distinctions, never class conflict. It was the “arrogance” of the barrier that concerned him, not the necessity for it. (2021)

Walter Gropius with a drawing of his unsuccessful bid for the Chicago Tribune project in 1922.

In this context, the Bauhaus modernist philosophy of “economy of form” and “economy of labor” (Bayer, 1938, p. 116) feels patronizing and puts Gropius’ vision for Haus Am Horn in a whole new light:

The Bauhaus had attempted to crystallize the still unformulated desires of a new man - the post-war German - who had not yet realized what he needed. This man had to construct a new way of life from the debris of a wrecked world-a way of life utterly different from that of pre-war times. He had to recreate the world around him with limited means in a limited space: a task preceded of necessity by psychological readjustments. (Ibid., p. 85)

Suddenly, the Bauhaus conflicts with race and gender also seem to crystalize.

II. Race + Antisemitism

Former Bauhaus student Franz Ehrlich created the Buchenwald entrance gate with its "Bauhaus-typeface" lettering that read "To each his own."

When telling the short-lived history of the Bauhaus, many deploy a romantic retelling of the story as one where the Nazis shut the school down because it was a direct threat to Hitler’s cause. In this romantic retelling, the ideology of the school is firmly rooted in lefty, open, utopic thinking, a complete antithesis of the Nazis, positioning the school as somehow opposing and fighting the Fascist baddies.

In reality, the Bauhaus and its directors were less heroic and more opportunistic.

According to historical records, the Nazis did object to many of the leftist ideas coming out of the school and, after many years of suspicion and thwarting its growth, shut it down and searched it on April 11, 1933. (Dyckhoff, 2002) Ludwig Mies van der Rohe, the director at the time, responded to this shutdown by marching over to the office of Alfred Rosenberg and proclaiming, “The Bauhaus has a certain idea, but this idea has nothing to do with politics.” (ibid.) To fight for the reopening of the school, he appealed to Rosenberg’s sense of design (he was a fellow architect) and how the Bauhaus could improve German standing in the world of architecture. This plea was unsuccessful, but van der Rohe persisted with his appeals to Rosenberg.

It wasn’t until three months later, with the school about to go bankrupt and the arrival of a Gestapo ultimatum - that he fire leftwing teachers, change the curriculum, and support the Nazis openly - that van der Rohe took the step of shuttering the school:

Mies was pathologically strong-willed, so protective of his independence that he would close his own school rather than submit to the demands of anyone else. Even the Nazis. (Ibid.)

This is hardly “fighting Nazi ideology.” After the Bauhaus was shuttered, a desperate van der Rohe signed “a motion of support for Hitler in the August 1934 referendum.” He didn’t actually leave Germany until 1937 after working for the Nazis for four years. (Ibid.) His blindness to the evil of the Nazi regime (while many of his former colleagues had fled Germany and others had disappeared into camps) was a direct product of his unchecked privilege.

*Party at Otti Berger's. Berger, back row far right, with headdress. Otti, a talented textile designer, was murdered in the Holocaust.*

There are at least two other accounts of Bauhaus alumni who were more directly involved in the Nazi efforts. Fritz Ertl, an architect who studied at the Bauhaus from 1928 to 1931, was eventually tried for his role as deputy chief of the SS Central Planning and Construction Office of Auschwitz. (Heubner, 2019) Herbert Bayer, a former instructor and the person who designed the famous typography that adorns the Dessau Bauhaus building, “created graphic designs for at least three Nazi propaganda campaigns.” (Brown, 2019) Much like van der Rohe’s, his participation was more opportunistic, but willful ignorance is a poor excuse.

Even in the early days of the Bauhaus racism and antisemitism were present. A prominent early figure, Johannes Itten, who developed the curriculum alongside Gropius as well as taught for many years, was a blatant and unapologetic white supremacist:

In 1921 he designed his plan for the House of the White Man and he and his colleagues published essays celebrating the fact that “the white race represented the highest level of civilization.” (Cronan, 2021)

Though Itten left his position after only a few years (over a dispute, not because of his behaviour), Gropius, as well, was documented making racist and antisemitic statements to court industrialists. (Ibid.)

III. Gender

Perhaps the most glaring discrepancy between what was promoted and what was practiced was gender.

As mentioned previously, the Programm des Staatlichen Bauhauses explicitly stated that gender would not be a limitation for any applicants to the school.

At the time, many women in the crafts had higher ambitions (as well as talent) to go beyond, so many women flocked to the Bauhaus.

More than just ample participants in the programming, many women attending the Bauhaus contributed to some of the most enduring designs coming out of the school.

Though her name was often dropped from the credits, Lilly Reich was a very active contributor to the Barcelona Chair (with Mies van der Rohe), Wassily Chair (with Marcel Breuer, and Cantilever "Weissenhof" Chair (again, with van der Rohe). She was also van der Rohe's partner on multiple architectural projects, including the Barcelona House.

Marianne Brandt's incredible work in the metal workshop was something she fought for, as women were not generally admitted to this craft program. Lucky for her, instructor Laszlo Maholy-Nagy recognized her talent and vouched for her. She was so prolific that she ended up replacing Maholy-Nagy as the head of the workshop. Her light fixtures and service wear are still sold today. In fact, her tea infuser "sold for $361,000 in 2007, making it the most expensive Bauhaus object ever sold at auction." (Artsy, 2016)

Another incredible talent, Margarete (Grete) Heymann-Löbenstein (eventually Marks), fought to enter the ceramics workshop. Thank goodness, as her designs were incredibly unique. As a Jew, she had to flee from Germany after the Nazis came to power, losing everything.

The list goes on. Sexism was rampant at the supposed open and experimental Bauhaus:

Most of the institution’s workshops—which ranged from sculpture and furniture design to stained glass and metalwork—reinforced the era’s discriminatory gender roles. When prospective student Anni Weil applied to the architecture program in 1921, Gropius’s response was blunt: “It is not advisable, in our experience, that women work in the heavy craft areas such as carpentry and so forth,” he wrote. “For this reason a women’s section has been formed at the Bauhaus which works particularly with textiles.” Bauhaus painting master Oskar Schlemmer’s view of women was equally small-minded: “Where there is wool, there is a woman who weaves, if only to pass the time.” (Gotthardt, 2019)

Though the weaving workshop was, obviously, looked down upon as lesser work by the men of the Bauhaus, it was a powerhouse when it came to production and financial success for the school. (Arts + Culture Google, 2017)

Under the directorship of Hannes Meyer, architecture and all workshops were finally opened to women at the Bauhaus. Unfortunately, his term was too brief. Women were treated like a different class at the Bauhaus, adding to the intersectional discrimination issues the school suffered from.

A New Perspective on the Bauhaus

When I began researching the Bauhaus and its relationship to class, I can honestly say that I fully expected a different result. I was one of the many people caught up in the legend of the school and had almost completely bought into the utopic ideal of a liberal, ahead of its time, Nazi-fighting movement.

As with all realizations that the myth differs from reality, it was difficult to reconcile my love of modern design with many of my findings. That being said, I still believe that Gropius, as flawed as he was, still created a space and philosophy that brought together the right people to carry an idea far into the future. Whether he should get as much credit for this as he does is up for grabs.

Even though I was disappointed in the key figures I knew were part of the Bauhaus, my research led me to discover new figures I could admire even more than the originals.

Funny story, though. A few semesters past, I chose a certain fabric for the seating I continue to love. When researching the women of the Bauhaus, I watched a video on Gunta Stolzl and the swatch for that fabric was shown as one of her designs. I loved finding out that, without knowing it, I already had a connection to the women of the Bauhaus.

Now, I have several other textile designers to search for and add to future design projects.

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