Bauhaus Photography

Bauhaus Photography

Language: English

Pages: 326

ISBN: 0262631091

Format: PDF / Kindle (mobi) / ePub


These five hundred photographs are a unique and exuberant record of Bauhaus activities and experiments during the 1920s and early 1930s. Significantly, most of the photographs were taken by artists - painters such as Fritz Kuhr and Werner Siedhoff, designers Heinz Loew and Herbert Bayer, Bauhaus masters Hannes Meyer and Joosst Schmidt - who were not selfconscious photographers but who wanted to work with a new technological product.

Egidio Marzona has assembled the world's foremost collection of works on paper documenting the revolutionary efforts of the Bauhaus. Marzona is also a well-known publisher of books on Russian Constructivism, Futurism, De Stijl, Dadaism, and a host of other movements and figures of the 20th-century avant-garde.

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nonphotographic as possible. There were occasional demurrers, but only the currents of the new century's mod- among architecture, sculpture, and painting and to break down traditional class distinctions between artist and artisan in the process. Supplement- And create a unity were the passionate ing these original ideals asms of Hungarian-born artist Laszlo enthusi- Moholy-Nagy who 923. Above all he brought to Weimar a love for the machine for anything technological. And he dedicated

scraps of noise, in its brutalist music gathering to- 127 many elements sought to convey the exciting experience of the awakening of a metropolis and similar optically prescribed paths, as things. This unity In comparison with this, photosculpture is a sort of organized apparition. Its pictures have a well-defined meaning and central idea, and though they often consist spairing, satirical, visionary, revolutionary, etc. gether of of different optical interlockings, it is and

pictorial methods. does not mean that the activity of painting in the manual fashion is doomed, either today or in the future. What "inspired" earlier times can also be a pedagogical instrument for developing a deeper, more intense understanding. But the recognition or rediscovery of an expression that develops on the basis of biological factors and is therefore self-evident ought not to be set forth as a special accomplishment. The personal evolution of an inThis dividual all who gradually

precise form It of representation so objective as to permit of no individual interpretation. of the optical The form, the rendering and is constructed out associative relationships: into a visual, associative, conceptual, synthetic continuity: into the typo- photo as an unambiguous rendering in an optically valid form. The typophoto governs the new tempo of the new visual literature. In the future every printing press will possess its own block- tions with X-ray

more to renounce what than a few among the modern photographers who adopt lips that part like a wilting it these methods, making big and small posters, and produce graphic, not photographic, effects. They are and they can us, still be threat of lifeless sterility. taste displayed is white effect of the be obtained silver, which completely dissolved is we in and if the geand purity of the the lithographic process, in are in the darks, can also emphasizes the

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