Bauhaus Quotes
At Weimar [ the Bauhaus art school I have radically overturned everything. This is the famous academy, which now has the most modern teachers! I have talked to the pupils every evening and I have infused the poison of the new spirit everywhere. De Stijl will soon be published again and more radically. I have mountains of strength, and I know now that our notions will be victorious over everyone and everything.
Theo van Doesburg
Duplicity in events: What happens here as new, happens somewhere else just the same way. That's so exciting. That is one of the secrets of life. Why did I sometimes build a lamp in the Bauhaus and somebody comes from Holland and says, 'Oh, somebody in Holland makes just the same lamp.' Such duplicity shows that the time is ripe for a problem and thus it is in the air, and will be solved here – and there. With this we are finding the 'creative process', for which somebody is coming to ask me about. I would say, 'I paint because I have no time not to paint.
Josef Albers
I discovered soon that teaching has the handicap of retrospection. And that I don't believe in. So I started [at the w:Bauhaus in Dessau] instead a method of handling material with the material itself. So that was my main change. Whereas Itten before [Itten left the Bauhaus in 1923 and Albers followed him as art-teacher] had only spoken about the appearance, 'matiere' - (the French word) and I said I would turn from 'matiere' - the outside - to the inside, to the capacity of the material, before the appearance. And that changed the attitude basically I think.
Josef Albers
In 1923, when I had been a student at the 'Bauhaus' in Weimar.. ..Gropius [the director of Bauhaus] asked me to teach the basic course 'Werklehhre'. He wanted me to introduce newcomers to the principles of handicrafts. He knew that I came from that background and had appropriate practice and knowledge.
Josef Albers
Now I'm sitting quietly at home again and I'm happy to be able to work undisturbed. I made a lot of sketches of life in Germany and it was very intriguing to see life there [in Berlin, a stay for three weeks]. I was also glad to see the old pictures of Rembrandt, Dürer, etc. again and to have the confirmation and encouragement they gave me. As for the moderns, I saw damned little that gripped me... Modern German painting has moved so far away from me and become unintelligible in areas in which my work had, and still has, an influence; but people like Klee, Kandinsky, etc. have moved much closer to me again, in fact I value the Bauhaus more and more. These people are working and developing. You can see that there is development. And they love their work, which is the main thing.
Ernst Ludwig Kirchner
One argument against open systems is that they become open to everything, good and bad. Like a Richard Meier skyscraper, the anal retentive, Bauhaus elegance of the Mac does prevent the loose ends and confusion of a less sterile environment. But it also prevents fertility. Apple's development must come from within.
Douglas Rushkoff
I was twenty-one when I first went to New York, and I was so fascinated by the architecture and glad that something like that existed and that I was able to have this visual experience that I thought to myself, this is where I want to live. To me, New York had a direct link with sculpture – that must have been it. Although at twenty-one I wasn't a sculptress yet, I was just starting my studies and I didn't even know what I wanted to do... New York is a city of incredible stability and solidity. And then the height of the buildings – that impressed me, like the people who always seemed a bit happier than the Germans in the street. When I came back to Germany it seemed to me that it wasn't particularly nice, my visual surroundings – it was all so dreary. And modernism hardly features at all in Germany. Okay, there was Bauhaus and there was this and that, but modernism is practically non-existent in architecture.
Isa Genzken
I was overjoyed when I was taken to a show of the American Abstract Artists Group in '37. They were all alive and they were American! My escort further interested me when he told me the two best abstract artists in America were not in the show - Arshile Gorky and Willem de Kooning, whom I met a couple of months later - when I began to study with him [with Willem de Kooning]. When Miss Nochlin says, 'What is important is that women face up to the reality of their history,' well, the point is, artists are always choosing their history from day to day and their history follows them as much as it precedes them. Were American artists 'facing up to the reality of their history' when they turned to the School of Paris or to German Expressionism or Dada or Surrealism or de Stijl or the Bauhaus instead of to Copley, Peale, Eakins, Blake or Ryder; was Picasso facing up to the reality of his history when he was snooping around African art for inspiration?
Elaine de Kooning
Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus - the epochally influential German art, architecture, crafts, and design school that was founded in Goethe's sleepy hometown of Weimar in 1919.
Martin Filler
I had to go to the Bauhaus to the basic course that was given by Itten. And I submitted to that although I was a little older than Itten. But I have not the best memories of my studies there. So when that course was over everyone had to exhibit his work and then it was decided whether or not one could continue. I was accepted to continue. But I wanted to go into a workshop and I wanted to make stained glass. That was my old dream. Glass pictures. But Itten thought I was not ready for that. Certainly to delay my study in glass, Itten said, 'Glass painting is a branch of wall painting and you should go first to our wall painting workshop,' And I said, 'That's nonsense. Wall painting has to do with reflected light and glass painting with direct light.' So I said 'Sorry, I'll do my own stuff on my own.
Josef Albers
I made true the first English sentence [Albers came from Germany] that I uttered (better stuttered) on our arrival at Black Mountain College in November 1933 [right after the closing of the Bauhaus art school in Dessau Germany, by the Nazi's] When a student asked me what I was going to teach I said: 'to open eyes'. And this has become the motto of all my teaching [famous pupils of Josef Albers at Black Mountain College were for instance the young generation starting American artists, like Robert Rauschenberg, Helen Frankenthaler, Cy Twombly, Ray Johnson and Susan Weil.
Josef Albers