1930–1933 Bauhaus student
Hans-Joachim Rose studied at the School of Applied Arts in Königsberg during the period from 1929 to 1930. Directly afterwards, he went to the Bauhaus in Dessau and Berlin for three years. This is where he first completed the preliminary course with Josef Albers and attended classes taught by Wassily Kandinsky, Paul Klee and Joost Schmidt in the summer semester of 1930. Starting in the subsequent winter semester, he spent two years – until mid-1932 – studying in the workshop for advertising, typography and print with Joost Schmidt. He simultaneously took courses in the photography department with Walter Peterhans, where he also continued to study after the Bauhaus moved. On 1 April 1933, he was awarded the Bauhaus Diploma No. 112 of the advertising workshop.
After the Bauhaus was closed, he initially assisted László Moholy-Nagy in the latter’s Berlin studio before he went to the private Nieuwe Kunstschool in Amsterdam – which was headed by the former Bauhäusler Paul Citroen – until 1940. Rose became a lecturer for advertising graphic, typography and photography there. At the same time, he operated his own advertising office and was its photographer, exhibition designer and set designer until 1941. He also worked as a film architect on a Rembrandt movie. In 1942, he was conscripted for military service and did not return to Germany from imprisonment until 1948. He succeeded in his re-entry and worked as a lecturer for commercial graphic design and typeface at the Academy for Fine Arts in Dresden between 1949 and 1953. He subsequently switched to the Technical College for Applied Art in Leipzig and worked freelance for the industry of the GDR.
- Fiedler, Jeannine (1990): Fotografie am Bauhaus, Berlin.
- Schöbe, Lutz (2004): Bauhaus. Fotografie aus der Sammlung der Stiftung Bauhaus Dessau, Florenz.
- Staroste, Ulrike (2010): Hajo Rose. Bauhaus Foto Typo, Berlin.
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Wilhelm Löber trained in several art forms and over the next centuries never stopped experimenting. Time and again he tried out diverse materials. His style constantly changed. Changeability, not continuity were one of his trademarks. The seamless transition between crafts and art is particularly noticeable in his ceramic works.