From Publishers Weekly
Bauhaus founder Walter Gropius and other male leaders of the famous interwar German art school steered women applicants into the weaving workshop because they considered textiles to be "women's work." With designs ranging from severely geometrical to riotously colorful, weavers like Gunta Stolzl, Benita Otte, Anni Albers and Marli Ehrman made the Bauhaus workshop an innovative laboratory which set standards for textile production worldwide. After the Nazis closed the Bauhaus in 1933, its weavers dispersed to Black Mountain College in North Carolina, to California's Pond Farm Community and to the New Bauhaus established in Chicago by Laszlo Moholy-Nagy. Their legacy of free experimentation led to a rebirth of handweaving in the U.S. Beautifully written and illustrated, this study unearths a major chapter in Bauhaus history. Weltge is an art history professor at the Philadelphia College of Textiles and Science.
Copyright 1993 Reed Business Information, Inc.
Most commonly associated with the Bauhaus are the world-famous architects Gropius and Mies van der Rohe and, to a lesser extent, the artists Kandinsky and Klee. Yet Professor Weltge opens up design vistas by capturing the spirit of the school's weaving workshop, one almost exclusively ruled by women in pre-World War II Germany. Interlaced with a thorough explanation of the Bauhaus commitment to the cross-fertilization between art and technology are very human tales: the school's moves from Weimar to Dessau to Berlin, the loss of 20 to 30 artists at Hitler's hands, and the exile to various countries and the subsequent reestablishment of the Bauhaus' ethos in foreign lands. Period photographs, sketches, and surviving textile examples help attest to the Bauhaus' revolution in design, a motif now well appreciated by collectors and professionals alike. Barbara Jacobs