Laszlo Moholy-nagy: z 1’ 1922/23
Overall, a wonderful tour and a relaxed 2nd round on my own with a chance to fix some of the works in my mind. I have listed below the items which I particularly liked. Leila Hasham noted down the names and titles for me and a friend has read and typed the notes.
Lyonel Feininger, Studio Window, 1919
Lyonel Feininger, Gelmeroda II, 1920
Tapestries can be difficult for me but the textile and weaving patterns are all clear. I discussed weaving with Leila on what I had made out in the Dovecote Gallery in Edinburgh.
Wassily Kandinsky, Questionnaire, 1922-23
Circles in a Circle, 1923
Oil on canvas
Philadelphia Museum of Art. The Louise and Walter Arensberg Collection 1951
When Kandinsky arrived at the Bauhaus in summer 1922 he was moving away from the amorphous forms and mottled colours of his Expressionist canvases and towards incorporating harder-edged geometric shapes, influenced by his contact with Russian Constructivists in Moscow during the War. In its use of intersecting lines and overlapping geometric shapes, Circles in a Circle has affinities with work of Moholy-Nagy. Kandinsky, however, employed a wider range of colour to create a sense of movement and depth and believed that the circle had a ‘link with the cosmic’.
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Paul Klee, Tomb in three parts, 1923
Klee has beautiful colours and his work is well known. He was also influential in the puppet and theatre design with Oskar Schlemmer.
(For those with screen readers, note how JAWS has switched the pronunciation of Kandinsky and Klee.)
This is a cordoned picture and can be observed in one of the illustrations.
Alma Buscher, Building Blocks, 1923-24
Gunta Stölzl, Wall hanging in black and white, 1923-24
Oskar Schlemmer, Triadic Ballet, 1923
3 figurines: These can be viewed as reconstructions from the sketches.
Gunta Stölzl, Five chairs
Anni Albers, Wall hanging 1926
Gertrud Arndt, Wall hanging, 1927
Wassily Kandinsky, Development in brown, 1933
Charlotte Voepel, Poster Design for Nivea, 1928
Nivea Crème zur Hautpflege
The tin of Nivea caught my eye as it was an iconic image. The brand name and rights had been dispersed following the First World War (Henkel lost Persil in USA and UK markets)
Xanti Schawinsky, Circus stage and clown
I was attracted to this beautiful sketch and though the name was difficult to pronounce, I rembered Xanti, listed as a student of the Bauhaus.
There was a rotating spiral with a shadow in a triad of puppets which I liked a lot.
The Triadic Ballet Turc I (Pink Series), 1922 (remade 1995)
Silk, velvet and felt on wire figure
Bühnen Archiv Oskar Schlemmer, The Oskar Schlemmer Estate and Archive
For Schlemmer the costumes were the most important part of The Triadic Ballet. He designed the 18 with the full intention that they constrict the wearer’s range of movement and thereby generate new dance expressions. The ‘figurines’, as he termed them, were formed from geometrical shapes made from stuffed and padded textiles as well as papier mâché, wood, glass and metal.
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There is a film clip showing a spiral object which has a kinetic effect. In fact the film reminded me of some images I see first thing on waking which suggests Charles Bonnet Syndrome, something that often affects people with significant sight loss.
Goldsmiths’ Hall, Foster Lane, EC2V 6BN
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