WeavingattheBauhaus:

OriginsandInfluences
 JuliaE.Benson
TEXT6910
FallSemester,2003
Copyright2003

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TableofContents

Introduction...........................................................................................................4
PrecursorsandEarlyInfluences.........................................................................5
TheArtsandCraftsPeriod...............................................................................5
GermanExpressionismDieBlauReiter......................................................6
TheWienerWerksttte,19101932..................................................................7
TheWeavingWorkshop19191933.....................................................................8
Weimar.............................................................................................................10
Dessau..............................................................................................................11
BauhausWeaversAftertheBauhaus...............................................................13
AnniAlbers(18991994)...............................................................................16
MarliEhrman(19041982).............................................................................17
TrudeGuermonprez(19101976)................................................................18
GuntaStlzl(18971983)..............................................................................20
InfluencesonLaterGenerations.......................................................................20
JackLenorLarsen(1927)............................................................................21
DorothyLiebes(18991972)...........................................................................22
LoreKaddenLindenfeld(1902)..................................................................23
ElseRegensteiner(19062003)....................................................................23
KaySekimachi(1926)...................................................................................25
AngeloTesta(19181984)..............................................................................25
WhereistheBauhausToday?..........................................................................26
Museumcollections........................................................................................26
VorwerkTeppichwerkecarpets.....................................................................27
GuntaStlzlDesignsbyChristopherFarrGalleries...................................28
AnniAlbers'loom............................................................................................29
Bibliography........................................................................................................31

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Introduction

TheBauhaus,despiteitsshortphysicalexistenceinWeimar(19191925)and

Dessau(19251933),Germany,producedoneofthemostinfluentialdesignmovements

ofthe20thcentury.AlthoughtheBauhausmovementisbestknownforitscontributions

tomidandlate20thcenturyarchitectureinthepersonaeofWalterGropius,Miesvander

Roheandothers,theWeavingWorkshopoftheBauhausbecameamajorinfluenceon

textiledesigningeneral,andweavingdesigninparticular,throughouttheremainderof

the20thcenturyandonintothe21stcentury.

AttheestablishmentoftheBauhaus,studentsweretobeadmittedtoworkshops

withoutregardtogender.However,becauseoftheunexpectedlylargenumberofwomen

whoappliedasstudents,thesegregationofwomenintothePottery,Bookbinding,and

WeavingWorkshopswassoonrecommended.TheheadofthePotteryWorkshop,

GerhardMarcks,wasunwillingtoacceptwomenintothatarea,andtheBookbinding

Workshoponlylasteduntil1922,leavingonlytheWeavingWorkshopasahomeforthe

femaleBauhausstudents.

TheWeavingWorkshopoftheBauhaus,assomewhatofafemaleghetto,had

manyprejudicesandmisconceptionstoovercomeduringitsexistence.Mostofthe

foremostpaintersandotherartistsoftheday,includingthosewhowereintimately

involvedwiththeeducationoftheBauhausweavingstudents,regardedweavingwasas

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lessthanrealartandwomenasincapableofworkinginareasregardedasmore

demanding,suchaspainting,metalwork,andsculpture.AlthoughmostBauhauswomen

studentswereshuntedintotheWeavingWorkshop,theyfirstattendedthesamebasic

courseasthemalestudentsandlearnedthesametheoryanddesignprinciplesfromsome

ofthemostnotedartistsoftheirtime.Furthermore,althoughtheWeavingWorkshop

wasregardedasinferiorartistically,itwasinfactthefirstworkshopabletopayitsown

waythroughtheproductionofitsstudents,inkeepingwiththeBauhausgoalofachieving

financialautonomythroughitsownefforts.

ThegeneralhistoryoftheBauhaus,aswellasthepoliticalandsocialinfluences

bothinternalandexternal,iswelldocumentedbymanysources.Therefore,thispaper

focusesontheartisticanddesignaspectsoftheBauhausmovementasreflectedintextile

design,specificallytheproductsandpeopleoftheWeavingWorkshop.

PrecursorsandEarlyInfluences

TheArtsandCraftsPeriod

Artistically,theBauhausmovement'sroots,atleastfromaphilosophicalpointof

view,tracebacktotheArtsandCraftsmovementthatbeganinEnglandinthemid1800s

andspreadtotheUnitedStateslateinthenineteenthcentury.Thismovementbeganasa

reactiontothenegativesocialeffectsoftheIndustrialRevolution,andgrewintoa

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backlashagainsttheexcessiveornamentationinhouseholdfurnishingsandarchitecture

oftheVictorianera.WheretheIndustrialRevolutionhaddivorceddesignfrom

production,artistfromproducer,theArtsandCraftsmovementattemptedtoreconcile

thisseparationofdesignandcraftsmanship.Thisintegrationofartandcraftbecamea

primarytenetoftheBauhausphilosophy,thoughwithoutdenyingthevaluableroleofthe

machineinproduction.

ThoughWilliamMorrisistheartistmostcloselyassociatedwiththeEnglish

versionofArtsandCrafts,hisworkstillreflectsthesensibilitiesofVictorianeradesign.

IfinsteadwelooktotheUnitedStates,itiseasytoseemanysimilaritiesbetweenthe

worksofseveraloftheseminalproponentsoftheArtsandCraftsmovementinAmerica

andthetextiledesignsoftheBauhausinGermany.ThearchitectureofFrankLloyd

WrightandtheMissionfurnitureofGustavStickleysharethesamepurityoflineand

formandthesameemphasisonfunctionthattheBauhaus,particularlyinitslateryearsin

Dessau,espoused.Infact,Wright'svisittotheAcademyofArtinBerlinin1910clearly

impressedayoungWalterGropius,founderoftheBauhaus.

GermanExpressionismDerBlaueReiter

TheotherprimarymovementoutofwhichtheBauhausgrewwasExpressionism,

theGermanartmovementthatgrewoutofPostImpressionism.LiketheFauvesof

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France,theirprimaryinterestwasintheexpressiveuseofcolortoconveyemotion,

mood,andmessage.Realisticportrayalofsubjectmatterwasasecondaryconcernatbest,

andoftendismissedentirely.

OneofthetwomostprominentgroupsatthecoreofGermanExpressionismwas

DerBlaueReiter("TheBlueRider"),formedinMunichin1911andfocusedonnon

figurativeabstraction.FromthisgroupwouldcomeoneoftheBauhaus'smostprominent

associatesandteachers,RussianartistWassilyKandinsky.

JohannesIttenandPaulKlee,thoughnotdirectlyassociatedwithDerBlaue

Reiter,werebothassociatedwiththeExpressionistmovementearlyintheirartistic

careers.BythetimetheBauhauswasestablished,bothKleeandIttenhadwell

establishedreputationsaspaintersknownforinnovativeuseofcoloranddesign,andboth

menbecameprimaryfactorsinattractingstudentstotheBauhaus.

TheWienerWerksttte,19031932

TheBauhauswasnotthefirstEuropeaninstitutiontojoinartandcraftintoa

singleentity.TheWienerWerksttte,whichexistedinVienna,Austriafrom1903to

1932,beganasanassociationofartistcraftsmeninvariousdisciplines.Itsintentfromthe

beginningwastoproduceproductswhichwerebothaestheticallypleasingandwell

crafted,distinguishingthemfrompoorlydesignedmassproducedobjectsontheone

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handandconventionalhandicraftsontheother.ThetextiledepartmentattheWiener

Werkstttewasestablishedin1910,thoughfabricproductionmayhaveactuallybegun

beforethattime.

TheprimaryinfluenceontheWienerWerkstttefabricdesignsatfirstwastheArt

NouveaumovementfromEnglandandScotland.Probablyduetotheinfluenceofthe

GermanExpressionistartmovement,whichpushedartfromrealismintoabstraction,this

stylewasquitesoonrejected,andtheWienerWerkstttefabricdesignsmovedintoa

freeformgeometricabstractionakintoArtDeco.

ThoughtherearesimilaritiesinthedesignstylesoftheWienerWerkstttefabrics

andtheBauhaustextiles,theyarefarfromidentical.WhereasmostoftheBauhaus

textilesweredesignedforweaving,thevastmajorityoftheWienerWerkstttefabrics

wereprinted.Ontheonehand,thisallowedagreaterflexibilityindesign,allowedthose

designstobereproducedinmultiplecolorschemesandwithlesshardedgedcoloreffects

thancanbeachievedinweaving.Ontheotherhanditprovidedagreattemptationallow

adesigntolapseintodecorationfordecoration'ssake.TheWienerWerkstttenever

emphasizedfunctionalityinthewaytheBauhausdid,andthusthetextiledepartment

thereproved,intheend,lessinnovativethanthatoftheBauhaus,withtheirconstant

questtoimprovefunctionalitywithoutsacrificingaestheticqualities.

TheWeavingWorkshop19191933

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 TheWeavingWorkshopattheBauhausistheonlyworkshoptohaveexisted

duringtheentirefourteenyearlifespanoftheschoolitself.Althoughitstartedby

offeringavarietyoftextilerelatedactivities,includingcraftingofstuffedanimalsand

dolls,by1921thecurriculumwasfirmlyestablishedasorientedtowardsweaving.

AswithalltheBauhausworkshops,studentscouldonlyentertheWeaving

Workshopaftercompletingaoneyearintroductorycourse.Thiscourseoriginatedwith

JohannesItten,andafterhisdeparturein1923wastaughtbyJosefAlbersandLzsl

MoholyNagy.Thiscoursefocusedondesign,colortheory(Itten'smostimportant

contributiontotheartworld)andexperimentationwithmaterials,andtosomeextentthe

curriculumoftheWeavingWorkshopwasseenasanaturalextensionofthiscourse.

WhilealmostallBauhausstudentsenteredwithanextensivepriorarteducation,the

introductorycourseprovidedanintensiveintroductiontotheavantgardeprinciplesthat

formedthefoundationoftheBauhausdesignandphilosophy.

Weimar

DuringtheWeimaryears(19191925)oftheBauhaus,weavingfocusedon

experimentation,expression,andproductionofindividualpieces.Oftenthe

experimentationandexpressionwasatthecostoftechnique,asearlypieceswiththeir

unevenselvages,bucklingfabrics,andinattentiontofinishingillustrate.Thisis

understandableafterconsideringthelackofformaltechnicalinstructionintheearliest

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yearsoftheworkshopAnniAlberstoldSigridWortmannWeltgein1997:"Therewas

norealteacherintextiles.Wehadnoformalclasses.Nowpeoplesaytome:'youlearned

itallattheBauhaus'!Wedidnotlearnathinginthebeginning.IlearnedfromGunta,

whowasagreatteacher.Wesatdownandtriedtodoit.Sometimeswesattogetherand

triedtosolveproblemsofconstruction."1

TheBauhausadministrationeventuallyrealizedthattheweaverswouldnever

developprofessionalcapabilitieswithoutappropriatetechnicalinstruction,sotheysent

GuntaStlzlandBenitaOttetoKrefeldtostudydyeingin1921andweavingandfiber

technologyin1922.Theknowledgethetwowomenbroughtbackenabledthestudentsin

theworkshoptobeginproducingqualitytextileswhileretainingandevenenhancingthe

designqualitiesthattheirpreviousexperimentationhadsometimesfailedtofullyexpress.

ManyoftheweaversfavoredGobelintapestrytechniquestoproducetheirwall

hangingsandrugs,andsomeofthemostcharacteristicandenduring"Bauhausstyle"

designsstemfromthistime.CollaborationsbetweentheWeavingWorkshopandthe

FurnitureWorkshopresultedinearlyprototypesforsomeofthemostfamiliariconsof

theBauhausmovement,theBreuerchairs.

ThoughtheWeimareraBauhaustextilesarestellarexamplesofartistic

expressioninatextilemedium,thetrueinfluenceoftheBauhausontheweavingworld

wouldnotbefeltuntilafterthemovetoDessau.

1
Weltge,SigridWortmann,Women'sWork:TextileArtFromtheBauhaus,p.46.

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Dessau

UponthemoveoftheBauhaustoDessauin1926,theemphasisoftheWeaving

Workshopchangedfromoneofakindartpiecestodesignofcontemporaryfabrics

suitableforindustrialproduction,thoughstudentswerestillallowedandevenencouraged

toproduceindividualpiecesaswell.Multiplelayeredweavingsbecamemorepopularas

beingamoresuitablewayofcombiningcolortoproducedesigninanindustrialsetting,

leadingtothecrispgeometricdesignssocharacteristicofthe"Bauhausstyle."Students

continuedexperimentingwithinnovativematerialsinfabrics,withbothAnniAlbersand

OttiBergerbothpioneeringtheuseofcellophaneinfabric.

ThecurriculumintheworkshopatDessauwasconsiderablyenhancedin1927

whenPaulKlee,possiblythemostrespectedandadmiredteacherattheBauhaus,created

adesigncoursespecificallyfortheweavers.Hecontinuedtoteachthiscourseuntilhis

resignationfromtheschoolin1931.Inaddition,theremainderofthecurriculumbecame

muchmorestructuredandrigorousthanithadbeeninWeimar,withcourseworkinuse

ofmaterialsandequipment,dyeingandfinishingtechniques,andindustrialproductionin

additiontodesign.

TheintroductionofJacquardloomsintotheworkshopatDessauexpandedthe

repertoireoftheBauhausweaversconsiderably,andGuntaStlzlinparticularbecamea

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masteratcreatinginnovativeandexcitingdesignsfortheJacquardloom.Her1928piece

5Chre(5Choirs)iswithoutadoubtthemostsophisticatedJacquardweavingtocome

outoftheBauhaus,withitsvisualtrickeryofdesignmakingitlookthreedimensional.

ThepresenceoftheJacquardloomsmadethecreationofstructuralfabrics,whichderive

theirvisualinterestfromthecombinationofstructureandtexture,amuchmoreexciting

possibility.

IndustrybegantorecognizethepossibilitiesincollaborationwiththeBauhaus

designers.ThisculminatedinacontractbetweentheWeavingWorkshopandthe

PolytextilCompanyin1930,wherePolytextilwouldproduceandmarketfabricsfrom

workshopdesignsunderthelabel"bauhausdessau."Thecontractprovidedthestudents

withtheopportunitytobecomeinvolvedineveryphaseofindustrialproduction,in

additiontoprovidingpositionsforgraduatesoftheprogram.

ThelasttwoyearsinDessauwereatimeofturmoilandchangefortheBauhaus

ingeneralandtheWeavingWorkshopinparticular.AfterGuntaStlzl'sresignationin

late1931,LillyReichwasappointedheadoftheworkshopwithOttiBergerasher

assistant.Reichwasaninteriorandfashiondesignerratherthanaweaver,andhadbeen

partoftheWienerWerksttteduringitsearliestyears.Sheattemptedtointroducefabric

printingasanintegralpartoftheWeavingWorkshop,butbeforeshecoulddosothe

schoolclosed.

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 Dessauiswherethe"Bauhausstyle,"atleastasitappliestotextiles,became

firmlyestablished,andwheredesignerandindustrybegantofullyrealizethepossibilities

incollaborativeeffort.

BauhausWeaversAftertheBauhaus

AftertheclosureoftheBauhausin1933,theremainingmembersoftheWeaving

Workshopbecamewidelydispersed,thoughmostendedupineitherEuropeorthe

UnitedStates.ManyoftheBauhausmemberswereJewish,andthuseitherbecame

targetsofNazipersecutionorfledGermanytoavoidbecomingsuchtargets.Stillothers

avoidedthedegenerateartistlabelandremainedinNaziGermany,abletocontinue

theircareersthroughthenextdecadeand,inmanycases,beyond.

TwoofthemostgiftedoftheBauhausweavers,OttiBergerandFriedlDicker,

wereamongthetwentyormoreBauhuserinwhowereexecutedinNaziconcentration

camps.BothBergerandDickerdiedintheAuschwitzconcentrationcampinPolandin

1944.

Inthe1930s,OttiBergerwasprobablythebestknownoftheweavingworkshop

alumnaeinEurope.SheattendedtheBauhausinDessau,receivingherdiplomain1930.

AfterayearheadingtheworkshopunderthedirectionofLillyReich,sheworkedasa

designerintheNetherlandsfrom1933to1937andinEnglandbetween1938and1939,

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patentinganumberofnewfabricsusinginnovativechemicaltreatmentsornew

materials.ThedePloegCompanyoftheNetherlandsevenmadeanexceptiontoits

policyofkeepingitsdesignersanonymous,andagreedtodisplayBerger'sinitials

alongsidethenamesofherdesigns.

AlthoughBergerobviouslyintendedtoimmigratetotheUnitedStatesin1938to

headthetextileprogramatLzslMoholyNagy's"NewBauhaus,"circumstances

preventedherjourney.In1939,shereturnedtoherhometown,Zmajavac,Yugoslaviato

visitherailingmother.Itisnotcertainwhethershefailedtorecognizetheperilofthe

politicalsituationinthatarea,orwhethershewasdeterminedtovisithermotherno

matterwhat.Regardless,whenshewasdeniedavisatotheUnitedStates,shefound

herselftrappedthere.In1944shewasdeportedtoAuschwitz/Birkenau,whereshewas

executed.

FriedlDickerwaslikewiseanalumnaoftheBauhausWeavingWorkshop,but

fromitsearlierincarnationinWeimar.Duringthemidtolate1920s,sheandFranz

Singerbecameahighlysoughtafterarchitect/interiordesignerpartnershipinVienna,

creatinghighlyfunctionalavantgardebuildings.Shecontinuedasaninteriordesignerin

ViennaaftertheSingerDickerStudioclosedin1931.In1934shewasarrestedand

forcedtoemigratetoPrague,Czechoslovakia,whereshebecameapoliticalactivistas

shecontinuedherdesignwork.

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 AfterrefusingtheopportunitytoemigratetoPalestinein1938,Dickerwas

deportedtoTerezin(Theresienstadt)ghetto/campin1942.Shespentthelasttwoyearsof

herlifeinTerezinteachingdrawingandartclassesforthechildrenthere,untilshewas

transferredtoAuschwitz/Birkenauandexecuted.MuchofDicker'sartlegacyisinthe

formoftheworksofthesechildren,demonstratinghergiftsfordesignandforteachingin

theseimagesofincrediblebeautyamongutterdespair.

GreteReichert(19071984)wasoneoftheveryfewBauhausweaversableto

continuetheircareerthroughouttheNaziregimeandtheCommunisttakeoverofEast

GermanyafterWorldWarII.Littleinformationisavailableaboutthespecificsofher

postBauhauscareer,thoughsheisknowntohaverunanindependentstudioinher

hometownofErfurt,Germanyuntilherdeathin1984.Shereceivedanumberofhonors

andcommissionsduringthepostwaryears,andevidentlyherworkinlateryearswasfar

moreartorientedthanindustriallyoriented.Probablybecauseofherisolationbehindthe

IronCurtain,fewofherpostBauhausworkshavebeenseenoutsideofGermany.

However,GermancarpetmanufacturerVorwerkTeppichwerkeselectedoneofher

designsforinclusionintheir"Dialog:WomenoftheBauhaus"collectionintheearly

1990s.

ManyoftheotherBauhausweaverstookrefugeintheUnitedStates,England,

andSwitzerland.Whilesomeofthemfadedintoobscurity,othersfoundthattheir

departurefromGermanyallowedthemtoestablishindependentcareersasartists.Several

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achievedwidespreadrecognitiononlyafterleavingGermany,mostnotablyAnniAlbers,

MartiEhrman,TrudeGuermonprez,andevenGuntaStlzl.

AnniAlbers(18991994)

AnniAlbersiswithoutquestionthebestknownoftheBauhausweaversinthe

UnitedStates.SheandherhusbandJosefwerethefirstoftheBauhuslertocometothe

UnitedStatesaftertheclosureoftheBauhaus,andthroughconnectionsestablished

beforetheyleftGermany,theywereinvitedtoteachatthenewlyestablishedBlack

MountainCollegejusteastofAsheville,NC.Duringtheirfourteenyearsthere,theywere

majorcontributorstoBlackMountainCollege'sgrowingreputationasamajorcreative

forceinthearts.

Albers'tenureasdirectoroftheWeavingWorkshopatBlackMountainCollege

wastherealstartofhercareerasanartist.Whilethere,sheexpandedherweavinginnew

directions,beginningwiththefirsttwopiecesshecreatedthere,thewallhangings

AncientWritingandMonteAlban.Thesetwopieceswerethefirstpiecesinwhichshe

usedinlayandbrocadingtechniquestoenhancethedoublewovenfoundationdesign.She

continuedtoexpandherweavingrepertoirewhileatBlackMountainCollege,and

switchedtofreelancedesignwhenherhusbandacceptedapositiononthefacultyatYale

University.

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 PerhapsthebiggestpushtoAlbers'careercamefromherwritings.Heressays,

influentialwhenfirstpublished,havebeencollectedintotwobooks,OnWeavingandOn

Designing,whichareregardedastwoofthemostimportantphilosophicaltreatiseson

theirsubjectstoday.

Alberscontinuedtocreateinnovative,yetpracticalandbeautifulfabricsfor

functionaluse,aswellascreativebutsubtlewallhangings,wellintothe1960s.Inthe

mid1960s,however,shediscoveredprintmaking,andby1970hadabandonedweaving

altogetherforlithographyandscreenprinting.Shebroughttoprintmakingthesameeye

forlineandcolor,thesameexpression,whichshehadbroughttoweaving,andin

additiontoproducingnumerousartprintscreatedseveralcommercialprintedfabric

collections.ForAlbers,printmakingbroughthertheformofexpressionthatshehad

hopedtoexploreinthePaintingWorkshopattheBauhausbeforeshewaspushedtoenter

theWeavingWorkshop.Nonetheless,thePaintingWorkshop'slosswasdefinitelythe

textileworld'sgainintheformofAnniAlbers,inmanywaystheconsummateBauhaus

artist.

MarliEhrman(19041982)

MarliEhrmanwasanotherBauhausweaveranddiplomarecipientwhofled

GermanyaheadoftheNazipurges.ShebecamedirectoroftheWeavingWorkshopat

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theSchoolofDesigninChicago,foundedbytheAssociationofArtsandIndustriesunder

thedirectionofLzslMoholyNagytobringtheestablishedprinciplesandphilosophies

oftheBauhaustotheUnited.AmongherstudentstherewereprominentAmerican

textiledesignersElseRegensteinerandAngeloTesta.AftertheWeavingWorkshop

closedin1947,shecontinuedtoteachattheHullHousesettlementschool,designed

textilesformassproductionbyanumberoffirmsaswellascollaboratingwithinterior

designerMarianneWillischandarchitectMiesvanderRohe.Inaddition,Ehrman

openedtheElmShop,amodernistdesignstudio,intheChicagosuburbofOakParkin

1956asanoutletforherwork.

Ehrman'sworkasadesigner,importantthoughitwas,palesinsignificancebeside

herinfluenceonthenextgenerationoftextileartists.LenoreTawney,ElseRegensteiner,

ClaireZeisler,AngeloTestaallstudiedwithEhrmaninChicagoandallhavehada

profoundimpactontextileseitherasdesignersorauthors.

TrudeGuermonprez(19101976)

TrudeGuermonprezwasoneoftheearliestofthesecondgenerationBauhusler,

studyingwithBauhausweaverBenitaOtteaswellasoriginalBauhauspotteryworkshop

masterGerhardMarcksattheMunicipalSchoolforArtsandCraftsinBurg

Giebichenstein,Hallefrom1931to1933.Twograntsallowedhertosupplementthis

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trainingwithstudiesofScandinavianweavingtechniquesinFinlandin1937andSweden

in1946.

GuermonprezspentmostofWorldWarIIinhidingintheNetherlands,though

shewasabletoclandestinelyworkasafreelancedesignerfortheDutchtextileindustry

duringthoseyears.Afterthewar,shetraveledtotheUnitedStatesin1947tovisither

motherandsister,whohadbeenlivingatBlackMountainCollegeinthemountainsof

westernNorthCarolinasincebeforethewar.Atthattime,AnniandJosefAlberswere

preparingforasabbaticaltriptoCentralAmerica,andGuermonprezagreedtostepinfor

Albersasinterimheadoftheweavingprogramatthecollege.Shefollowedhertwo

yearsatBlackMountainwithteachingstintsatartists'retreatPondFarminCalifornia

andSanFranciscoInstituteofArtbeforejoiningthefacultyatCaliforniaCollegeofArts

andCraftsinOakland.Sheremainedthereuntilherdeath,asheadoftheDepartmentof

Weavingfrom1960onaswellasheadoftheDepartmentofCraftsfrom1960to1971.

AsheadoftheDepartmentofWeavingatCaliforniaCollege,shewasan

instrumentalforceinthedevelopmentofseveraltextileartistsofthelatterhalfofthe

twentiethcentury,mostnotablyKaySekimachi.Inadditiontoherteaching

responsibilities,Guermonprezcontinuedtoworkasafreelanceweaverduringthistime,

designingfabricprototypesforindustryaswellasartweavingpieces.Herlastwoven

pieces,doubleweavehangings,continuedtoshowthestrongBauhausinfluencewhile

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usingsurfacedesigntechniquestolayergraphicimageryatoptheweaving,providingher

ownpersonaltouchtoamovement.

GuntaStlzl(18971983)

GuntaStlzlleftGermanyshortlybeforeAlbers,EhrmanandGuermonprez,but

ratherthangoingtotheUnitedStates,shewenttoZurich,Switzerland.Theturmoilof

herpersonallifeduringthe1930saside,shewasabletoestablishherselfasahandweaver

anddesignerthereinSwitzerland,carryingoutnumerouscommissionsforinteriorfabrics

overtheyearsandcollaboratingwithseveraltextilecompaniestoproduceindustrial

prototypefabrics.Inherlateryears,sheclosedherhandweavingstudioand,inasense,

returnedtoherrootsbyexclusivelyweavingtapestries.

ThoughStlzl'spostBauhausindustrialworkisnotfamiliarintheUnitedStates,

herartpiecesarepresentinthecollectionsoftheBuschReisingerMuseumandthe

MuseumofModernArt.AstheonlyfemalemastertheBauhauseverproduced,her

impact,directandindirect,ontwentiethcenturytextilesbothintheUnitedStatesand

Europeisimmense.

InfluencesonLaterGenerations

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 Itisimpossibletolistallthefiberartistswhosework,eithernoworduringtheir

artisticdevelopment,reflectstheteachingsandinfluencesoftheBauhausdesignersand

thesocalledBauhausStyle.Therefore,thefollowinglistshouldbetakenasonlya

representativesample,focusingonsomeofthebetterknownartistsofthelatterhalfof

thetwentiethcentury.

JackLenorLarsen(1927)

ItisimpossibletodiscusstwentiethcenturyAmericantextiledesignwithout

mentioningJackLenorLarsen.Inhisfiftyplusyearcareer,heservedasadesigner,

author,lecturer,andmuseumconsultant.Hiscompany,JackLenorLarsenDesigns,

producedavastnumberofnowclassicfabricdesigns,somewoven,othersprintedor

knitted.Ashisreputationgrew,heexpandedhisdesignstoincludefurnishingsaswell,

andreceivedmanymajorarchitecturaltextilecommissionsforindustry,museums,and

publicbuildings.

Larsen'sowneducationasanartistwasatCranbrookAcademyinMichigan,

whichistheprimaryrepresentativeoftheScandinaviantextiletraditionintheUnited

States.However,theScandinavianandBauhaustraditionshavemuchincommon.Larsen

wasdoubtlesslyheavilyinfluencedbytheBauhausaestheticandphilosophyaswell,

particularlybytheworkofGuntaStlzl,whomheadmiredgreatly.Hismostvisible

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tributetoStlzl,though,wasthesuggestionthatBritishgalleryownerChristopherFarr

arrangetheproductionofanumberofherdesignsinthemid1990s.

DorothyLiebes(18991972)

AlthoughDorothyLiebeswasnotBauhaustrainedandbeganherweavingcareer

beforetheclosureoftheBauhaus,herworksharedmuchoftheBauhausaestheticand

philosophy.FirstasacustomproductionweaverforWestCoastarchitectsandinterior

designers,thenasanconsultingdesignerandstylistforindustrialfirmssuchasGoodall

Fabrics,theduPontCorporationandBigelowSanford,Inc.,muchofherworkshowed

thevibrantcolorcombinationsusedbyseveraloftheBauhausweaversaswellasthe

muteddeserttonesfavoredbyothers.LiebeswasoneofthefirstAmericanweaversto

beginusingsyntheticandexperimentalyarns,enjoyingtheinterplayoftexturegainedby

mixingsyntheticyarnssuchasnylonwiththemoretraditionalwoolsandothernatural

fibersfavoredbyhandweavers.Sheworkedcloselywiththedesignersandarchitectsthat

wereherclientstomakehertextilesanintegralpartofthearchitecturalsettinginwhich

theywereinstalled,ratherthanamereafterthought.AsthefirstAmericanhandweaverto

crossoverintoindustriallevelproduction,sheparalleledtheBauhausDessauidealof

designingfabricsthatwerebothaestheticallypleasingandhighlyfunctional.

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LoreKaddenLindenfeld(1902)

GermanbornLoreKaddenLindenfeldisthebestknownstudenttograduatefrom

theweavingprogramrunbyAnniAlbersandTrudeGuermonprezatBlackMountain

College.ShebecameoneofthefirstwomentoworkasadesignerintheAmericantextile

industry,spendingtenyearscreatingfabricsforseveralwellknownfirms.Aftertaking

timeofftostartafamily,shebeganteachinginthelate1960sasshecontinuedtodofree

lancework.Lindenfeldisnotaswellknownasmanyofhercontemporaries;however,

herstudentandindustrialfabricsplayedasignificantpartinbringtheBauhausidealsinto

Americanfabricdesign.

ElseRegensteiner(19062003)

ElseRegensteinerisanotherGermanborntextileartistwhogreatlyinfluencedthe

developmentofmodernfabricdesignintheUnitedStates.LikeLindenfeld,shedidnot

begintostudytextilesuntilsheimmigratedtotheUnitedStatesin1936toescapeNazi

rule.AftersettlingintohernewlifeinChicago,shemetMarliEhrman,herselfnewly

emigratedfromGermany.Bothwomenrealizedthattheyhadmuchincommon,and

RegensteinersoonagreedtoaddherteachertrainingandexperiencetoEhrman'sdesign

skillbybecomingEhrman'sassistantattheInstituteofDesign.ThoughRegensteinerhad

nopriorbackgroundintextiles,shequicklydiscoveredanaffinityandagiftforthecraft,

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andeagerlysupplementedEhrman'sinstructionbystudyingwithAnniandJosefAlbers

atBlackMountainCollegeduringvacations.Whenshegraduatedfromtheprogramin

1942,shewashiredasaweavinginstructorattheInstitute.

Regensteiner'steachingcareercontinuedattheArtInstituteofChicagofrom1945

to1971,andattheAmericanFarmSchoolinThessaloniki,Greecefrom1972to1978.In

addition,sheestablishedReg/WickHandwovenOriginalswithfellowInstitutestudent

JuliaMcVicker.Thestudioproducedmanycustomfabricsforinteriordesignerstryingto

softenthehard,coldfeelofthenewglassandsteelarchitecturethatwasgrowingin

popularity,aswellasindustryprototypeswithsimilarintent.Regensteiner'sworkbecame

verywellknown,inpartduetotheStiffelCompany'suseofReg/Wickfabricsforits

lampshadesforanumberofyears.

Regensteiner'sinfluenceextendedfartherbeyondtheinteriordesignandindustrial

textileworldsthananyotherBauhausinfluencedartist.Sheservedasdirectorforthe

HandweaversGuildofAmerica,wasacofounderoftheMidwestDesignerCraftsmen,

taughtnumerousworkshopsaroundthecountry,andwrotethreebooks,TheArtof

Handweaving,Weaver'sStudyCourse:IdeasandTechniques,andGeometricDesignin

Weaving,whichhavebeenregardedasclassicresourcesforhandweaversforthelast

threedecades.Thesebooks,perhapsmorethananythingelse,helpedbringBauhaus

designprinciplestothehobbyhandweaverandthusenrichedthecraft.

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KaySekimachi(1926)

AtfirstglancethesculpturalfiberpiecescreatedbyKaySekimachiseemtohave

littlerelationshiptotheflatwovencarpetsandyardageoftheBauhausweavers.Upon

closerexamination,however,severalobviousinfluencesfromtheBauhauspermeateher

work.Heruseofnylonmonofilament,amodernfiber,isverymuchinkeepingwiththe

Bauhausideaofexperimentationinuseofmaterials.Itsuseinhermultilayeredwoven

sculpturesofthe1960sproducedamethodofusingonlyshapeanddimensionalityto

achievethesamevisualcomplexityoflightanddarkcontrastasinAnniAlbers'wall

hangings.Herlatersculpturalworks,whileusingmoretraditionalmaterials,demonstrate

thecleanandorderlyuseoflineandshapesocommontotheBauhausstyle,onlyinthree

dimensionsinsteadoftwo.

AngeloTesta(19181984)

Intheearly1940s,ayoungstudentenrolledattheUniversityofChicagowiththe

intentofbecominganarchaeologistfoundhimselfembarkingonacrusadetobringfabric

designintothemodernera.AngeloTestahadbeenanawardwinningartistinhigh

schoolinSpringfield,MA,butoriginallyintendedtomakeartanavocation.After

discoveringtheInstituteofDesigninChicago,however,heenrolledintheprogramthere

tostudydesignwithLzslMoholyNagyandweavingwithMarliEhrman.Asaresult,

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heremainedavocalsupporterofBauhausprinciples,bothphilosophicalanddesign,

throughouthiscareerasanindustrialtextiledesigner.

Fromthebeginning,however,TestaincorporatedAbstractModernismintotextile

designinhisownuniquefashion.Hisdesignsweredescribedas"abstractpatterns

employingnewconceptionsofspace,line,andcolor"inanarticleinMonsantoMagazine

in1953.2Hisfirstcommerciallyproduceddesign,"LittleManDesign,"reflectsthe

simplicityofdesignandemphasisonformcommonlyassociatedwiththe"Bauhaus

style."Yet,thedesignitselfshowsanorganicqualityrarelyseeninoriginalBauhaus

textiledesigns.Laterdesignscontainmoreofageometricquality,yettheshapesare

distortedoutoftherightanglegridmostcommonlyseeninBauhauswoventextiles.

Furthermore,Testaalso"pushedtheenvelope"inhischoiceofmaterials,findingthat

plasticfabricprovidedthedesiredsurfaceforhisdesigns.Hence,Testafoundthatthe

bestmediumfordevelopingmanyofhisdesignsintoproductionfabricwasnotweaving,

butprinting.

WhereistheBauhausToday?

Museumcollections

TodayoriginalBauhausandderivativetextilesarefoundinthecollectionsof

numerousmuseumsthroughouttheworld.Amongthelargestcollectionsarethoseatthe

2
"CloseUp,"MonsantoMagazine,April/May1953,<http://www.angelotesta.com/>

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BauhausArchivMuseumofDesigninBerlin,theKunstsammlungerinWeimar,the

NationalGalleryofArtandtheSmithsonianAmericanArtMuseuminWashington,

D.C.,andespeciallytheBuschReisingerMuseumoftheHarvardUniversityArt

MuseumsinCambridge,MA.

VorwerkTeppichwerkecarpets

In1991,GermancarpetmanufacturerVorwerkTeppichwerkebeganexploring

thepossibilityofconvertingoriginalBauhausdesignsintomassproducedwalltowall

carpeting.Manyofthedraftstheyexaminedweredeemedunsuitableaseitherlacking

thenecessarypatternelementsallowingforendlessrepetitioninbothlengthandwidthof

theresultingproduct,orcreatedasallroundcompositionsintendedformultipleuses

suchascurtainsandblanketsaswellascarpeting.However,anumberofdesignsfitthe

parametersestablishedbythecompany,andinadditionhadneverbeenconvertedinto

actualproduct(whetheroneofakindormassproduced).

TheresultofthisstudywasthecarpetcollectionClassic:Frauenam

Bauhaus(WomenattheBauhaus),introducedin1994atDessauitself.Thiscollection

ofcarpetingconsistsofelevendesignsproducedbyfiveoftheBauhausweaversduring

theDessauyears:GertrudArndt,MonicaBellaBronner,KittyFischer,GreteReichardt,

andGuntaStlzl.Theelevendesignsareclearexamplesofwhatcametobecalledthe

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Bauhausstyle,withtheirprecisegeometricpatterningandtheirvibrantyetclearcolor

harmonies.

Interestingly,althoughFischer,Reichardt,andStlzlweredeadbythistime,the

othertwooriginaldesigners,GertrudArndtandMonicaBellaBronner,werestillliving

andwerebotheagertoparticipateinthisproductlinedevelopment.BellaBronner

reviewedherowndesigndraftsandprovidedinputintotheirconversionforproduction,

whileArndtparticipatedinthecolormatchingphaseofdevelopmentaswellintheactual

initialproductionitself.Thus,thecollaborationbetweentextiledesignerandtextile

industryenvisionedduringtheBauhausyearscouldfinallymanifestseventyyearslater.3

GuntaStlzlDesignsbyChristopherFarrGalleries

In1995,JackLenorLarsenwasinLondon,EnglandvisitingChristopherFarrand

MatthewBourneofChristopherFarrGalleries.UponseeingtheworksproducedbyFarr

andhisdesigners,LarsensuggestedthatFarrandBurkeconsiderreproducingsomeofthe

BauhauseradesignsofGuntaStlzlaslimitededitionrugs.AsLarsensaid:

itcametomethatGunta'scompositionswouldbebestrealisedbyAsian

handweavers.Still,nosolutioncameuntilIfoundChristopherFarr'sLondongalleries

fullofmodernkilimsandhandknottedrugswoveninAnatolia.Theirglistening,wiry

3
Vorwerk&Co.Vorwerk&Co.TeppichwerkeGmbH&Co.KG.2003.
<http://www.vorwerkteppich.de/produktdetail.brw?quality=04171>

28of33
fibrefromsheepbredformillenniatoproducethebestcarpetwoolsaddedtotheir

quality.Sodidkettledyeingstreakyyarnshandspunfromungradedfleeces.Allthe

organicrichnesswashere,offsetbythemeticulouscraftsmanshipfoundinantiquerugs.

Andhere,itseemed,weretheentrepreneursonecouldtrustwithStlzl'srepertoire.4

AfterconsultationwithStlzlsdaughters,YaelAloniandMonikaStadler,the

FarrGalleryselectedacirca1926forinitialreproductionintwoforms,aflatweaverug

andahandknottedrug,eachinadifferentcolorway.Thetworugswereshownatthe

retrospectiveexhibitGuntaStlzlMeisterinamBauhaus,attheMuseumfurKunstin

HamburginMarch1998.TheirenthusiasticreceptionconvincedFarrandBourneto

arrangeproductionofotherdesignsaswell.AsofOctober,2000,thecollectioncontained

fivehandknotteddesigns,twoflatwovendesigns,andatapestry,eachinalimitededition

offifteenrugs.5

AnniAlbers'loom

OnelegacyoftheBauhausWeavingWorkshopisstillinusetodayinwestern

Pennsylvania,availabletoanyhandweaverwillingtotravelthere.WhenAnniAlbers

4
Larsen,JackLenor.AfterwordtoOriginalContemporaryDesignRugsandCarpets.
October7,1999.<http://www.cfarr.co.uk/past_exhibitions2.htm>

5
OriginalContemporaryDesignRugsandCarpets.1999.
<http://www.cfarr.co.uk/past_exhibitions2.htm>

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immigratedtotheUnitedStatesin1933,shebroughtwithheraneightshaft

countermarcheloomthatshehadusedattheBauhaus.Shecontinuedtoweaveonthis

loomuntil1961,whenitpassedintothehandsofherstudentDoloresDembusBittleman.

Twentyyearslater,Ms.BittlemansoldtheloomtotheWeaversGuildofPittsburgh.It

wassporadicallyusedatthePittsburghCenterfortheArtsuntil1996,whentheguild

decidedthatitrequiredtoomuchspaceforthemtocontinuetokeepit.

Atthattime,weaverandtextilescholarSigridPirochwasinthelatestagesof

organizingtheAlleghenyRiverTextile(ARTS)Studio.ThePittsburghguild,upon

receivingnewsofthenewstudio,decidedthatARTSwouldbeaperfecthomefor

Albersloomalocationwhereitcouldbeusedratherthansittingidleinanexhibit,or

worsestoredawayoutofview.Afterayearofrestorationwork,performedwiththehelp

ofGermanMasterWeaverGudrunWeisinger,Albersloomdebutedinaplaceofhonor

asARTSopenedinOctober1997.Today,accordingtoPiroch,studentsandteachersat

ARTSdoindeedweaveonAlbersloom,bringingthehandworklegacyoftheBauhaus

aswellasitsdesignlegacyonintothetwentyfirstcentury.6

6
Piroch,Sigrid.AnniAlbers.<http://ww.artsstudio.org/anni_albers.htm>

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