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Article

Bauhaus  

Rainer K. Wick

Publication History:

Published online:
2003
Collection:
Grove Art Online

[Bauhaus Berlin; Bauhaus Dessau, Hochschule für Gestaltung; Staatliches Bauhaus in Weimar]

German school of art, design and architecture, founded by Walter Gropius. It was active in Weimar from 1919 to 1925, in Dessau from 1925 to 1932 and in Berlin from 1932 to 1933, when it was closed down by the Nazi authorities. The Bauhaus’s name referred to the medieval Bauhütten or masons’ lodges. The school re-established workshop training, as opposed to impractical academic studio education. Its contribution to the development of Functionalism in architecture was widely influential. It exemplified the contemporary desire to form unified academies incorporating art colleges, colleges of arts and crafts and schools of architecture, thus promoting a closer cooperation between the practice of ‘fine’ and ‘applied’ art and architecture. The origins of the school lay in attempts in the 19th and early 20th centuries to re-establish the bond between artistic creativity and manufacturing that had been broken by the Industrial Revolution. According to Walter Gropius in ...

Article

Mondrian [Mondriaan], Piet (er Cornelis)  

H. Henkels

Publication History:

Published online:
2003
Collection:
Grove Art Online

(b Amersfoort, March 7, 1872; d New York, Feb 1, 1944).

Dutch painter, theorist, and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of De Stijl, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title Le Néo-plasticisme (see Neo-plasticism) by Léonce Rosenberg. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and colour, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most ...

Article

Montage  

Tom Williams

Publication History:

Published online:
2003
Collection:
Grove Art Online

Term that refers to the technique of organizing various images into a single composition in both film and visual art. It is also frequently applied to musical and literary works that emphasize fragmentation and paratactic construction. In film, the term typically refers to the organization of individual shots to create a larger structure or narrative. This technique was developed most systematically by the film makers of the 1920s Russian avant-garde such as Sergey Eisenstein (1898–1948), Lev Kuleshov (1899–1970), and Vsevolod Pudovkin (1893–1953). In visual art, the term refers to the juxtaposition of disparate images in Collage and particularly Photomontage. Although this use of montage has a number of historical precursors, it was developed primarily in the 1910s and 1920s by artists associated with Dada, Surrealism, and Russian Constructivism such as George Grosz, John Heartfield, Hannah Höch, and Aleksandr Rodchenko. During the period after World War II, the technique became an increasingly routine practice in both advertising and the fine arts. In the late 20th century it has been most associated with the work of such figures as ...