This monograph—published to coincide with the Bauhaus exhibition at the MoMA (November 8, 2009-January 25, 2010)—celebrates the work of twenty women artists who created feverishly in all the teaching, workshop, and production branches of the Bauhaus—women who should have been included in the major art histories of the twentieth century long ago, but whose names, masterpieces, and extraordinary lives have only gradually become known to us. Recognized figures such as Anni Albers—the first textile artist to be exhibited at the MoMA—and Marianne Brandt—whose elegant geometric tableware have become classic Alessi designs—are showcased alongside previously unknown artists such as Gertrud Grunow, who taught "Harmonizing Science"; Helene Börner, who led the textile workshop; and Ilse Fehling, a sculptor and the most sought-after set and costume designer of her generation. Founded in 1919, the Bauhaus and most of its students were poor and lacking in just about everything. What it did have, however, was an abundance of enthusiasm, talent, and innovative creativity. Furthermore, over half of those seeking to enroll at the school were women. This tornado of the "fairer sex" was initially seen as a threat, and the weaving mill was quickly turned into a separate "women’s facility." Nevertheless, over the years the mill became a hotbed of groundbreaking production, whose impact far surpassed national borders, as demonstrated by the international acclaim of photographers Lucia Moholy, Florence Henri, and Grete Stern.
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The first monograph on the female painters, photographers, architects, sculptors, and designers of the vanguard Bauhaus School, who helped shape the cultural history of the twentieth century.
"Although women formed the majority of the Bauhaus’s student body in its early years, the role they played in shaping the school’s radical agenda has been largely ignored. Now Bauhaus Women comes along to correct the historical record." ~New York Times
"Although women formed the majority of the Bauhaus’s student body in its early years, the role they played in shaping the school’s radical agenda has been largely ignored. Now Bauhaus Women comes along to correct the historical record." ~New York Times
About the Author
Ulrike Müller studied ecclesiastical music, philosophy, theology, and literary sciences in Hamburg. She lives in Weimar where she works as a museum curator and city guide.
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4.0 out of 5 stars
The Fairer side of the Bauhaus,
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This review is from: Bauhaus Women: Art, Handicraft, Design (Hardcover)
Most of the other books on the Bauhaus just mention the women in passing as being mainly in the fabric/weaving and pottery departments.This book seeks to redress this absence. The book is divided into sections concentrating on the various departments within the Bauhaus where the women studied, worked and also taught. Each section is further sub-divided into stand alone biographies of individual women. The bios are not bite-sized, nor are they overly detailed. But, rather nice serving-sized portions; not too long nor too short.....just right. I wouldn't recommend this book to someone just starting out wanting to read about the Bauhaus.....this book is definitely geared to fill in the knowledge gaps. I would suggest this as reading for someone who has already read a few other books on the subject, and is familiar with the prior history and personages of the Bauhaus school, because this book doesn't really address this aspect. This book concentrates upon the women, and their various influences and contributions to the Bauhaus School
4.0 out of 5 stars
Bad-ass women,
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This review is from: Bauhaus Women: Art, Handicraft, Design (Hardcover)
I haven't read through the book completely but I am thoroughly enjoying the history of the Bauhaus movement especially with the female artists; it's refreshing to find a book that directly recounts the woman experience in the art world. Even though Bauhaus isn't a style I lean towards it is the story and history of women in the craft/art world.
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