The Art School Building, now the main building of the Bauhaus-University Weimar.
The Weimar Saxon-Grand Ducal Art School (Großherzoglich-Sächsische Kunstschule Weimar) was created on October 1, 1860, by a decree of Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach. It existed until 1910, at which time it was promoted to a "Hochschule". It should not be confused with the Weimar Princely Free Drawing School, which existed from 1776 to 1930 and, after 1860, served as a preparatory school.
Charles Alexander was the ruler of Saxe-Weimar-Eisenach as its grand duke from 1853 until his death.
Hochschule is the generic term in German for institutions of higher education, corresponding to universities and colleges in English. The term Universität is reserved for institutions with the right to confer doctorates. In contrast, Hochschule encompasses Universitäten as well as institutions that are not authorized to confer doctorates.
From 1870 to 1900, the students and teachers of the school turned away from the academic tradition of idealized compositions. Inspired by the Barbizon School, they went directly to nature for their inspiration, in genre as well as landscape painting. This approach set the school apart and attracted attention throughout Europe.
Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes. Such representations may be realistic, imagined, or romanticized by the artist. Some variations of the term genre art specify the medium or type of visual work, as in genre painting, genre prints, genre photographs, and so on.
William Ernest, Grand Duke of Saxe-Weimar-Eisenach was the last Grand Duke of Saxe-Weimar-Eisenach.
Johannes Wilhelm (Hans) Olde was a German painter and art school administrator.
Adolf Brütt was a German sculptor. He was the founder of the Weimarer Bildhauerschule and its accompanying bronze foundry.
Building
View of the entryway, with "Eve".
The art school building (also called the "Studio Building") was constructed in two phases: 1904/05 and 1911, on the former Art School Road from plans drawn up by Henry van de Velde. Both buildings are true to the principles of Jugendstil regarding functionality and appropriate use of materials. As the founding place of the Bauhaus movement, it has been one of the most important arts schools of the century. Of particular note in the building's interior are the Oberlichtsaal (skylight hall), the elliptical staircase and the statue of Eve by Auguste Rodin.
The Staatliches Bauhaus, commonly known as the Bauhaus, was a German art school operational from 1919 to 1933 that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught.
François Auguste René Rodin, known as Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. He was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Paris's foremost school of art.
In December 1996, the building (together with the former arts & crafts school) was designated a UNESCO World Heritage Site. In 1999, it was restored to an approximation of its original appearance by architect Thomas van den Valentyn[de] and his team. This restoration included the "Gropiuszimmer"; the room that served as Walter Gropius' office when he was the director, which was returned to its former state, c.1925. The building now houses the School of Architecture, the Design Department, the Dean's office and the Rector's office.
Walter Adolph Georg Gropius was a German architect and founder of the Bauhaus School, who, along with Alvar Aalto, Ludwig Mies van der Rohe, Le Corbusier and Frank Lloyd Wright, is widely regarded as one of the pioneering masters of modernist architecture. Gropius was also a leading architect of the International Style.
Carl Arp was a German landscape painter. He is best known as a founding member of the Schleswig-Holsteinische Kunstgenossenschaft and representative of the Weimar Saxon-Grand Ducal Art School. Subsequent to his studies there under Theodor Hagen and Leopold von Kalckreuth, he spent several years in Italy. Carl Arp is viewed as one of the main representatives of the "en plein air" style of landscape painting.
Paul Baum, was a German painter, draftsman and printmaker. He was the most important representative of Neo-Impressionism in Germany.
Max Beckmann was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity, an outgrowth of Expressionism that opposed its introverted emotionalism.
Bibliography
Walther Scheidig: Die Weimarer Malerschule. Seemann, Leipzig 1991, ISBN3-363-00538-5.
Hendrik Ziegler: Die Kunst der Weimarer Malerschule. Von der Pleinairmalerei zum Impressionismus. Böhlau, Köln, Weimar, Wien 2001, ISBN3-412-15400-8.
Gerda Wendemann et al.: Hinaus in die Natur: Barbizon, die Weimarer Malerschule und der Aufbruch zum Impressionismus. Christoph Kerber Verlag, Bielefeld 2010, ISBN978-3-8667-8381-2.
Jutta Hülsewig-Johnen, Thomas Kellein: Der Deutsche Impressionismus. DuMont-Buchverlag, Köln 2009, ISBN978-3-8321-9274-7.
Renate Müller-Krumbach, Karl Schawelka, Norbert Korrek, Gerwin Zohlen: Die Belebung des Stoffes durch die Form. Van de Veldes Hochschulbau in Weimar. Verlag der Bauhaus-Universität Weimar, Weimar 2002, ISBN978-3-86068-166-4.
Silke Opitz (Hrsg.): Van de Veldes Kunstschulbauten in Weimar. Architektur und Ausstattung. Verlag der Bauhaus-Universität Weimar, Weimar 2004, ISBN3-86068-201-6.
Michael Eckhardt (Hrsg.): Bauhaus-Spaziergang. In Weimar unterwegs auf den Spuren des frühen Bauhauses. Verlag der Bauhaus-Universität Weimar, Weimar 2009, ISBN978-3-86068-378-1.
Frank Simon-Ritz, Klaus-Jürgen Winkler, Gerd Zimmermann (Hrsg.): Aber wir sind! Wir wollen! Und wir schaffen! Von der Großherzoglichen Kunstschule zur Bauhaus-Universität. Verlag der Bauhaus-Universität Weimar, Weimar 2010, ISBN978-3-86068-419-1.
Schlenker, Sabine (2007): Mit dem Talent der Augen. Der Kunstkritiker Emil Heilbut (1861-1921) Ein Streiter für die moderne Kunst im Deutschen Kaiserreich, VDG-Verlag Weimar, ISBN978-3-89739-563-3.
Müllerschön, Bernd und Maier, Thomas (2002): Die Maler der Schule von Barbizon – Wegbereiter des Impressionismus, Ed. Thombe, ISBN978-3-93525201-0.
Stapf, Peter (2014): Der Maler Max Thedy 1858–1924, Böhlau Verlag Köln∙Weimar∙Wien, ISBN978-3-412-22264-2.
Fuß, Rowena (2013): Christian Rohlfs in Weimar: Das Frühwerk: 1870-1901 (Vorreiter ohne Vorbild), VDG-Verlag Weimar, ISBN978-3-8973-9791-0.
Plaul, Jens M. (2009): Max Oehler: Auf den Spuren eines Landschaftsmalers in Nachfolge der Weimarer Malerschule, 2. Auflage, Arbeitskreis Stadtgeschichte Blankenhain, ISBN978-3-0000-4335-2
Merseburger, Peter (2013): Mythos Weimar: Zwischen Geist und Macht, Pantheon Verlag München, ISBN978-3-5705-5208-7.
Häder, Ulf (1999): Der Jungbrunnen für die Malerei, Holland und die deutsche Kunst 1850–1900, page 168–171 and 286. Jena.
Mai, Ekkehard (2010): Die Deutschen Kunstakademien im 19. Jahrhundert, Künstlerausbildung zwischen Tradition und Avantgarde, Böhlau Verlag Köln Weimar Wien, ISBN978-3 412-20498-3.
Whitford, Frank (1984): Bauhaus (World of Art), Thames and Hudson Ltd., London, ISBN978-0-500-20193-0
Seemann, E.A. (2000): Karl Buchholz, 1849-1889: Ein Künstler der Weimarer Malerschule, Seemann-Verlag, ISBN978-3-363-00733-6.
Dauer, Horst (1983): Die Weimarer Malerschule, Leipzig, Seemann-Verlag, ASIN B0026OK8UA.
Deshmukh, Marion F. (2015): Max Liebermann Modern Art and Modern Germany, Ashgate Farnham, ISBN978-1-4724-3415-9.
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