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10 Bauhaus

10 Bauhaus

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Published by: info1206 on Apr 11, 2012
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03/03/2013

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The Bauhaus &The New Typography
It is obvious,
wrote Aldous Huxley in1928,
that the machine is here to stay.Whole armies of William Morrises and
Tolstoys could not now expel it… Let us
then exploit them to create beauty
 –
amodern beauty, while we are about it.
 
 
The Bauhaus &The New Typography
Lyonel Feininger, Cathedral, 1919.This woodcut was printed on the titlepage of the Bauhaus Manifesto.
 
The Bauhaus &The New Typography
The ultimate aim of all creative activity is a building! Thedecoration of buildings was once the noblest function of finearts, and fine arts were indispensable to great architecture.Today they exist in complacent isolation, and can only berescued by the conscious co-operation and collaboration ofall craftsmen. Architects, painters, and sculptors must onceagain come to know and comprehend the compositecharacter of a building, both as an entity and in terms of itsvarious parts. Then their work will be filled with that truearchitectonic spirit which, as "salon art", it has lost.The old art schools were unable to produce this unity; andhow, indeed, should they have done so, since art cannot betaught? Schools must return to the workshop. The world ofthe pattern-designer and applied artist, consisting only ofdrawing and painting must become once again a world inwhich things are built. If the young person who rejoices increative activity now begins his career as in the older daysby learning a craft, then the unproductive "artist" will nolonger be condemned to inadequate artistry, for his skills willbe preserved for the crafts in which he can achieve greatthings.

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