The creative atmosphere at the Bauhaus was a magnet for young people from over 29 countries. Some had no money at all, while others brought enough to feed their fellow students. They had one thing in common: they were now Bauhäusler and always would be.
It was only when Gertrud Arndt got to the Bauhaus that she found there was no course in architecture. So she became a weaver. But her secret passion was photography.
Bahelfer had to leave Nazi Germany when he finished studying at the Bauhaus because of his Jewish identity. In Paris he was one of the most sought-after graphic designers for Jewish publications.
Beese was the first woman to study in the building department of the Dessau Bauhaus. After graduating she was a sought-after architect.
Beyer designed one of the rare garments created at the Bauhaus: a dress tailored geometrically in various shades of blue and ending just above the knee – scandalous for 1928!
By co-founding the Ulm School of Design, Max Bill made an exceptional contribution to upholding the Bauhaus philosophy. His Ulm stool and the Junghans clock are still considered innovative and timeless.
Blühová was one of the few students at the Bauhaus to engage with social photography. Before joining the course, Slovakian-born Blühová was already observing the lives of people around her with a critical eye.
Kallin was one of the few women alongside Marianne Brandt in the Bauhaus metal workshop, but it was above all in photography that she displayed great talent.
Theodor Bogler’s timeless ceramic designs epitomise the radical rethink at the Weimar Bauhaus in 1923: clear forms, functionality, modern beauty – and affordable for everyone.
Alfredo Bortoluzzi was an enthusiastic member of the Bauhaus theatre company under Schlemmer. After graduating from the Bauhaus he became a professional dancer, choreographer and set designer.
Butkow was the linchpin of a Communist cell at the Bauhaus. In 1932 he was expelled. He went to the Soviet Union as political émigré, but in 1937 he was accused of espionage and sentenced to death.
Clasing had experienced first-hand what it was like to scratch a living due to the Bauhaus stigma, so he devoted himself to showing banned avant-garde artists at his own little gallery in Münster.
Although Edmund Collein never studied photography or advertising, all that survives from his time in Dessau are photographs. His picture of the “Gropius building studio” is an icon of Bauhaus photography.
In 1927 Consemüller took about 300 interior photographs of the Bauhaus building in Dessau for Gropius. Together with the outdoor shots by Lucia Moholy, these have played a big part in shaping our image of the Bauhaus.
When Horacio Coppola and Grete Stern showed their Bauhaus photographs in Buenos Aires they injected significant momentum into the development of modern Argentinian photography.
She had devoted her life to art and art education – even in the concentration camp at Theresienstadt, she used this to offer children a little bit of normality. Friedl Dicker died in Auschwitz in 1944.
When Ehrlich was arrested for contributing to communist magazines, his experience as an architect came to his aid: he survived the concentration camp at Buchenwald as an “indentured” labourer.
With the rotating round stage for string puppets Fehling made in 1922, she was way ahead of her time. The shape and movement of the stage were designed to narrow the gulf between audience and performance.
T. Lux Feininger
Feininger practically grew up at the Bauhaus. With his camera he tirelessly recorded the vibrant life in the community and was later much in demand as a photojournalist for the prestigious photo agency DEPHOT.
Feininger’s photographs are icons of modernism. His talent took him from the Bauhaus to New York, where he was a photojournalist for the prestigious Life magazine and published numerous textbooks on photography
Werner David Feist
Feist enthusiastically took pictures at the Bauhaus: portraits, still life, material studies. His expressive images are composed with an all-pervasive dynamism.
In 1928 Fischli did well in the competition to design patterns for the Gebrüder Rasch wallpaper company, picking up two thirds of the prizes.
In her memoirs, Etel Fodor-Mittag described her eventful life as an active communist with Jewish roots. Meanwhile, her portrait photography and still lifes speak the language of art at the Bauhaus.
Grewenig produced a prolific œuvre under Kandinsky’s influence. By varying the shades of his paint, he achieved a unique effect with his delicate compositions of finely constructed detail.
Emil Bert Hartwig
Hartwig was the first male student in the weaving workshop, where he trained in pictorial weaving. He also studied painting and later joined Paul Klee’s master class.
Heymann-Loebenstein was considered talented but unsuited to the pottery workshop. She later made a success of her own ceramic business, the “Haël Workshops”.
His Reflected Light Plays were an abstract modern experiment at the early Bauhaus: circles, triangles and squares cut from stencils move and merge to music.
Keler’s best-known work was a cradle for the first Bauhaus exhibition in 1923. His design reflects a Bauhaus trademark: the primary colours red, yellow and blue assigned to a square, triangle and circle as elementary shapes.
After 1945 it was Hoffmann who led efforts to secure the war-ravaged Bauhaus buildings in Dessau. Mayor Hesse tasked him with reviving the Bauhaus – but the plan ultimately failed.
Kerkovius had already trained in painting when she arrived at the Bauhaus in Weimar. In Adolf Hölzel’s master class she also studied with Itten, who had once been her student in Stuttgart.
Benita Koch-Otte was one of the most talented students in the Bauhaus weaving workshop and one of Germany’s leading modernist weavers. From 1925 she headed the weaving studio at the School of Arts and Crafts at Burg Giebichenstein in Halle.
Foldable and collapsible furniture, the New Frankfurt social housing project, standardised private houses: Kramer’s œuvre ranks among the most multifaceted in the modernist era. He also studied briefly at the Bauhaus in Weimar.
Kranz thought about art in terms of series, formal categories and variants. Whether in paintings, photographs, graphic designs or experimental films, what fascinated him was the game of change and processes of transformation.
Corona Krause had just turned 18 when she came to the Bauhaus in Weimar. Here she studied in the weaving workshop, later becoming a textile and fashion designer.
Judit Kárász was one of the few students to explore social photography. With her camera she ventured a glimpse behind the scenes of bourgeois life and documented poverty and social exclusion.
She had already exhibited alongside Kurt Schwitters at the gallery STURM in 1919. Langenstrass-Uhlig produced a broad expressionist œuvre, some of it inspired by the Bauhaus, but not many people know her today.
Margaret Camilla Leiteritz
Together with Hans Fischli, Leiteritz won the competition for Bauhaus wallpaper. The designs were used by the Gebrüder Rasch factory in Bramsche for a Bauhaus collection still in production today.
The Drinking Hall, the only building in Dessau implemented by Mies van der Rohe, was designed by his student Eduard Ludwig. After graduating Ludwig worked in the practice Mies ran in Berlin.
Marx took a long time after studying at the Bauhaus to find his own way as an artist. Influenced by various modernist styles, his paintings reflected a world detached from reality.
On behalf of the Bauhaus she produced almost all the interior design for the ADGB trade union school in Bernau, but she did not make her name as an architect and interior designer until the 1950s
In 1923 Molnár designed a red cube with large windows and a glazed exterior walkway for the experimental house. The design selected was Georg Muche’s “Haus am Horn”.
In 1920 Nehrling made a simple “Chinese hat” from cardboard for a Bauhaus party. He kept this hat all his life. Today it offers historical evidence of life at the Bauhaus.
Heinrich Neuy was one of the youngest people at the Bauhaus. The things he learned and experienced there left such a deep impression that they remained a source of direction and guidance for the rest of his life.
After training there, she put the Bauhaus in touch with her family’s company, Gebrüder Rasch in Bramsche, who still market the Bauhaus wallpaper designs.
Reichardt made a particularly resilient and durable polished thread called “iron yarn” that was used to span Marcel Breuer’s tubular steel furniture.
Reimann received his diploma in advertising graphics just ten days before the Bauhaus was closed down. He worked in the field at first in Berlin. After the Second World War he became an art teacher.
His photography and typography oscillate between New Vision, Surrealism and New Objectivity. As a teacher at the private Nieuwe Kunstschool in Amsterdam, Rose imported Bauhaus ideas to the Netherlands.
Karl Peter Röhl
In 1919 Röhl designed the first Bauhaus signet. In 1922 his studio was the venue for Theo van Doesburg’s legendary De Stijl course which influenced the reorientation of the Bauhaus.