The Geometry Of Innocence -The 100th Anniversary Of The Bauhaus In Wiemar Germany After World War I

The Geometry Of Innocence -The 100^th Anniversary Of The Bauhaus In Wiemar Germany After World War I

By Laura Perkins

I get to do this short commemoration of the Bauhaus in Germany from 1919 to about 1933 by default. Or because I am currently running an on-line series on art works entitled Traipsing Through The Arts. Although we have no official section titles and have not had them for a while I am the “art go-to person” (maybe an official title like art editor would be better but that is not a battle I want to fight right now when I am being besieged by half the American arts cabal from curators to gallery owners  for my unorthodox views of my self-selected artists). I actually know, or I should say knew, since I have hustled myself through the small Bauhaus exhibit at the Museum of Fine Arts in Boston and the more expansive one at the Harvard Museums next to nothing about the movement except for a few names like Gropius and Moholy-Nagy. (Who knows what other museums with even the most tenuous links to the Bauhaus will roll out their red carpets for the commemoration like happened a couple of years ago with the Summer of Love, 1967 where even the MFA had a dinky exhibit down in the dungeon of the American Arts wing closeted from view along with the Native American and Mezo-American art.)   

Aside from learning about the very real connections between Harvard and the movement brought on by the exile of many of the figures associated with the school once Hitler and his wreaking crew pulled the hammer down I was surprised to see how many modernist painters like Klee and Kandinsky passed through the doors either as teachers or students. Also the link between the Bauhaus and the famous Black Mountain College down in North Carolina which produced a significant number of culturati. (Frankly the first reference I knew about Black Mountain was not the college but one of Bessie Smith’s blues, Black Mountain Blues, which is a very different take on that location.)

More than anything else though I was fascinated by how important geometric figures were to that movement not only in the obvious architectural and design areas but in the art. Especially the work of Joseph Albers who would later help found Black Mountain College. That is why I titled this sort piece “geometric of innocence” since 1919 nobody, or almost moody knew what hell was coming down when the Weimar Republic fell down.