Bauhaus textiles : women artists and the weaving workshop
著者
書誌事項
Bauhaus textiles : women artists and the weaving workshop
Thames and Hudson, c1993
大学図書館所蔵 全14件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 196-198) and index
内容説明・目次
内容説明
The place of the Bauhaus in the history of 20th-century design is unchallengeable. Yet the Weaving Workshop, the longest standing and most successful of all Bauhaus workshops, has been neglected. Why? For one simple reason - its artists were almost all female. When these brilliantly talented women arrived at the school, they soon found that Gropius could not sustain his ringing declaration of equality "between the beautiful and the strong gender". Textiles were to be "women's work". The consequences - both in the early days of artistic expression in Weimar and in later developments for industry - could hardly have been foreseen. The Bauhaus weavers produced fabrics which incorporated new or unusual materials, which had acoustic and light-reflecting properties, and which were reversible. They produced multi-layered fabrics, cloths with double and triple weaves, and later made extensive use of the Jacquard loom. In this study, illustrated with rare or little seen illustrations of the works themselves, Sigrid Wortmann Weltge recreates the heady atmosphere of creative excitement at the Bauhaus.
Original archival research, and interviews both with survivors and their students and leading contemporary designers, detail the workshop's history and its enduring legacy. When the Nazis closed the institution in 1933, its members dispersed to Switzerland, Holland, England, France, Russia, Mexico and many centres in the United States. This book unearths the missing chapter in the story of the most important institution in the history of modern design, and resurrects the work of gifted craftswomen, for too long denied their due as pioneers in their field.
目次
- Introduction
- acknowledgments
- beginnings
- the Weimar years
- the gender issue
- Gunta Stolzl
- the question of identity
- the weaving workshop and Johannes Itten
- Georg Muche and the 1923 Bauhaus Exhibition
- the Dessau years
- Dessau - a new direction
- from craft to industry
- Bauhaus fabrics
- the purge
- the legacy
- a new frontier
- Bauhaus style
- biographies.
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