Bauhaus and Modernism - Essay Example

?Introduction The development into twentieth century design in both art and architecture was one which was considered essential in the formation of avant – garde philosophies. The development of Bauhaus was one of the main influences that pushed society into a different understanding of what was included in the designs as well as which philosophies began to be dominant in the creation of specific design standards. The Bauhaus influence in Germany moved into prominence in American modernism, specifically because of the educational institutions, schools of thought and designs that were incorporated into new art and architectural concepts in America. This was done to create a definition of what modernism meant with the philosophies of Bauhaus being incorporated into the definition used with American modernism (Michaels, 20:1997). The designs were then able to create a foundation which continued to be used for American modernism. Philosophies of Bauhaus The main concepts of the Bauhaus began in Germany in the early 1900s, specifically when World War I and World War II began to dominate the lifestyles of those in the region. The philosophy was based on the changes that were within society and how this led to different perspectives of what was important to those in a given culture. The basis of this was known as being a logical positivist, which embraced futuristic and avant – garde ideologies. “From a small group in Vienna, the movement soon expanded to include an international following, and in sixty years since has exerted a powerful sway over the conduct of philosophy of science as well as over wide branches of philosophy, economics, psychology and physics” (Galison, 709: 1990). It was understood that this particular concept of philosophy was one that not only demanded the change toward mathematical and economical associations with art. There were also values that were placed on the changing culture, specifically because of the wars which were taking place. “Europe and America began to experience a profound shift in sensibility that would lead to an explosion of creativity in the arts, transform moral values, and in time reshape the conduct of life throughout Western society” (Singal, 7: 1987). This basis was followed by other concepts which were associated with the understanding of Bauhaus and the movement toward modernism in Germany. The art and architectural forms that were a part of the movement were one of the main associations made with the Bauhaus movement. The philosophy developed was based on simplistic forms and colors as well as a synthesis between the two. Unification of the forms and colors were then able to create a different focus on the ideology of the subject and what was being said. This was furthered with the foundational ideologies by Walter Gropius, who believed that there should be a unification of art, craft, science, technology and manufacturing that was in the art forms. Combining math with the art became the main component that drove forward the movement while creating a different understanding of what the architecture and art form meant with reflections in society (Ernest, 176: 2002). Bauhaus and American Modernism The development of the Bauhaus movement into the American modernist concepts began with several architects and designers coming into America after receiving education from the Bauhaus movement. Designers such as Mies van der Rohe and Lilly Reich began to incorporate designs into American architects and art. This began with smaller accessories, such as modern looking lamps for the home. As this grew, the concept of the Art Deco style followed, specifically with the same philosophies which were incorporated into the Bauhaus movement (Doss, 57: 2002). This was furthered by support from museums who began to highlight the modernist styles from Germany in different shows, specifically to show the avant garde concepts and movements which were occurring (Watson, 140: 2000). As designers and highlights of the art work were considered, there was the ability to move forward with new innovations and ideas that related specifically to American modernism. The desire to create something innovative became the driving force with both the Bauhaus and the American movements, with more avant – garde concepts becoming the main focus of artists. “Again, certain U.S. industries and the Bauhaus alone approached this ideal: the modernistic French machine – age aesthetic and American styling and streamlining were false directions. It was essential for designers and public to recognize the art in machine production” (Smith, 393: 1993). The main concept that grew was associated specifically with trying to redefine what the concept of art meant, specifically with the meaning of modernism that was associated with this. The concept of the avant garde that was specifically provided in an understanding of the modernist approach was followed with the philosophies which challenged other artists. As more artists were able to see the designs through both art and architecture, were also different ideologies which began to be incorporated into the innovations of modernism (Tichi, 42: 1987). The design field is one which began to emerge specifically with the awareness of modernism and how there should constantly be change and progression which was a part of the ideology of modernism. “The field seemed completely new, with no history, a premise supported by the Bauhaus modern ideal of constant newness” (Heller, Balance, 8: 2001). The concepts which began to emerge then became consistent with constantly adding in innovation to designs, architecture and various art forms. Reflections of American Modernism Architecture and Art There are several concepts which reflect the Bauhaus in American modernism, all which are based on providing the mechanical of organization with beauty. “Architecture and its associated activities – designs of interiors, furniture, household objects – produced an aesthetic companion to the influential technical and ideological messages of scientific management” (Guillen, 7: 1997). This particular perspective is one which can be seen in both the Bauhaus designs as well as the modernist associations which were presented in American art, as seen through figure 1. Figure 1: (Bauhaus House Design, Chemnitz). (University of Alaska Museum) As can be seen from both of these figures, the form and the color is simplistic and works in unification. At the same time, the mechanical and technical elements, specifically seen through the oval, geometrical shape, creates a sense of the avant – garde and the ideology of newness within each of the works (Wolfe, 7: 1981). The Bauhaus house which is built closely resembles the American modernist building of the University of Alaska museum because of these elements and the unification factors which both perceive. The main concept created was not only based on the craft, techniques and science which was associated with the both the Bauhaus and the American modernism movements. More important, the philosophies of modernism became more important in trying to change the impact of how art and architecture was changing during this time (Guillen, 17: 2002). Innovation through both technology and the arts were becoming a main component within Europe and America, which allowed the Bauhaus movement to become a dominant component with the newer arts that were used. “Modernist without even going to Europe, exploring the new preoccupations as an aspect of the problems of the American culture, the needs of American perception, and American consciousness, American plentitude and American emptiness” (Bradbury, 27: 1987). The desire to create a sense of innovation and modernism then became reflective of the ideologies of the Bauhaus movement, specifically in trying to find a definition that created the perception of modernism. The similarities of defining modernism then became a part of the art and architecture that was in both America and Europe (Gartman, 17: 2000). When looking at the different movements and the artistic works, it can be seen that there are similarities specifically in the definition and philosophy of modernism, seen in figure 2. Figure 2: Bauhaus and Modern Art (Rolph Scarlett: Untitled). (Arthur Dove: 1944: Dancing Willows). When looking at these two artistic concepts, it can be seen that there is a direct relationship to creating shapes, forms and specific colors with the art. The Bauhaus perspective is based on incorporating mathematical concepts and philosophies of technology, specifically to re-identify art into a modernist perspective (Heynen, 17: 2005). The later work of Dove uses these same philosophies, specifically which takes the subject matter of the mountains and makes it into what one could define as a modernist work. Conclusion The concept of Bauhaus and the American modernist movement have changed the way that many look at the idea of modernism. Bauhaus worked as the precursor to American modernism with several philosophies, including the art, craft and philosophy of defining modernism (Anker, 7: 2005). The early influences of those that were a part of America from the Bauhaus movement, as well as the incorporation of different ideologies in trying to find the meaning of modernism led to different understandings that created the modernist philosophies. References Anker, P. (2005). “The Bauhaus of Nature.” Journal of Modernism 7 (2). Bauhaus House Design, (1932), Chemnitz. Bradbury, Malcolm. (1987). “The Nonhomemade World: European and American Modernism.” American Quarterly 39 (1). Doss, Erika. (2002). Twentieth Century American Art. New York: Oxford University Press. Dove, Arthur. (1944). Dancing Willows. Ernest, Paul. (2002). Mathematics, Education, and Philosophy: an International Perspective. New York: Routledge. Galison, Peter. (1990). “Aufbau / Bauhaus: Logical Positivism and Architectural Modernism.” Critical Inquiry 16 (4), 709-752. Gartman, David. (2000). “Why Modern Architecture Emerged in Europe, Not America: The New Class and the Aesthetics of Technocracy.” Theory, Culture and Society 17 (5). Guillen, Mauro. (1997). “Scientific Management’s Lost Aesthetic: Architecture, Organization, and the Taylorized Beauty of the Mechanical.” Administrative Science Quarterly (42). Guillen, Mauro. (2002). The Taylorized Beauty of the Mechanical: Scientific Management and the Rise of the Modern. New York: Princeton University Press. Heller, Steven, Georgette Balance. (2001). Graphic Design History. New York: Allworth Press. Heynen, H. (2005). “The Jargon of Authenticity: Modernism and Its Nonpolitical Position.” Kuleven 7 (2). Michaels, Walter. (1997). Our America: Nativism, Modernism and Pluralism. New York: Duke University Press. Scarlett, Rolph. (1937). Untitled. Singal, Daniel. (1987). “Towards a Definition of American Modernism.” American Quarterly 39 (1). Smith, Terry. (1993). Making the Modern: Industry, Art, and Design in America. Chicago: University of Chicago Press. Tichi, Cecelia. (1987). Shifting Gears: Technology, Literature, Culture in Modernist America. North Carolina: University of North Carolina Press. University of Alaska Museum. (1952). Watson, Steven. (2000). Prepare for Saints: Gertrude Stein, Virgil Thompson and the Mainstreaming of American Modernism. California: University of California Press. Wolfe, T. (1981). From Bauhaus To Our House. New York: Routledge. Read More