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German art of the twentieth century (Book)

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German art of the twentieth century (Book)

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https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000015830&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,German%20art&offset=0

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-Established by Walter Gropius at Weimar in Germany in 1919
-A revolutionary school of art, architecture and design

Reference:
1.https://www.tate.org.uk/art/art-terms/b/bauhaus
2. (NTU Library E-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000238433&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,bauhaus&offset=0
3. (NTU Library E-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000482685&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,bauhaus&offset=0

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Tate glossary definition for Bauhaus: Revolutionary school of art, architecture and design established by the pioneer modern architect Walter Gropius at Weimar in Germany in 1919

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-1932
-Industrial Designer
-He summarised 10 principles for good design

Reference:
1.https://www.vitsoe.com/us/about/good-design
2.https://www.dezeen.com/tag/dieter-rams/
3. (NTU Library E-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS001277803&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Dieter%20Rams&offset=0

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Good design at Vitsœ

Here at Vitsœ we stand for the inordinate power of good design in everything we do: designing thoughtfully, responsibly and intelligently for our company, our furniture and the many people who share a profound interest in all of our tomorrows.

For over 60 years, Vitsœ has worked continuously with Dieter Rams. He still improves his designs to this day and is often cited by a new generation as a key influence on their work that is shaping the 21st century.

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Dieter Rams, Vitsœ's furniture designer. Ten principles for good design (sometimes referred to as the 'Ten commandments').

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-1900–1990
-Industrial Designer

Reference:
1. https://www.doublestonesteel.com/blog/design/wilhelm-wagenfeld-design-legend/
2. (NTU Library E-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000016364&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Wilhelm%20Wagenfeld&offset=0

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The life of Wilhelm Wagenfeld

Wilhelm Wagenfeld was born in the northern German city of Bremen in 1900, on the 15th April and passed away at the age of 90 on the 28th of May 1990, in Stuttgart

Early life

As a young boy Wagenfeld studied drawing at the Bremen Boys School before starting his adult life as an apprentice in the silverware factory belonging to Koch & Bergfeld. This very well respected factory, which produces cutlery, was founded in 1829 and is still in business today.

Wilhelm stayed with the Koch & Berfeld until 1918 and attended the academy of art in the town of Hanau, famous as the birth place of the Brothers Grimm.

In 1923 Wagenfeld went to the Bauhaus in Weimar. Wagenfeld joined Bauhaus as a silversmith. Whilst he was there he designed the beautiful and simple WG24 'Bauhaus' lamp in collaboration with K.J. Juncker. Made from glass and nickel plate steel tube, including a glass base, the product is still manufactured today by the original manufacturer, TECNOLUMEN, from Germany.

Wilhelm designed two silver teapots in 1924, a so called "Moka machine" and other tableware. Contrary to the large majority of former Bauhaus students, Wilhelm Wagenfeld became a well and widely known industrial designer.

The Bauhaus philosophy

Wagenfeld remained throughout his career loyal to the Bauhaus principles of "less is more" and he designed items to perform their function as efficiently and as simply as possible. Wagenfeld, in his own words, wanted to produce 'top quality items, that were cheap enough for the poor and good enough for the rich.'

Wagenfeld's greatest commercial success were the kubus (cubes) glass containers for the Lausitzer Glassworks in 1938 but he was also well known for the Max & Moritz diabolo-shaped salt and pepper shakers for WMF. The WMF Group ("formerly known as Württembergische Metallwarenfabrik") is a German tableware manufacturer. There is, of course, also the famous Wagenfeld tea service designed with the Czech graphic designer, Ladislav Sutnar in 1932 for the Glassworks of Schott & Gen in Jena.

The 1930 Exhibition of Contemporary Industrial Art

Wagenfeld was part of the legendary Metropolitan Museum's Exhibition of Contemporary Industrial Art in 1930 (3th edition) which had a major influence on the development of American design. After this Wagenfeld became a teacher at the government arts college in Berlin in 1931 and remained there until 1935.

The war years, afterwards and the lasting legacy

Unlike many other of the Bauhaus teachers, Wagenfeld stayed on in Germany during the rise of the Nazi regime and the second world war. Because of his reluctancy to serve the Nazi regime Wagenfeld was sent to the Eastern front to fight, whilst there he was captured and unfortunately Wagenfeld finished the war in a Russian prisoner of war camp.

Before starting his own design office in Stuttgart in 1954 he was a professor at the College of fine arts and culture in Berlin. He received the Grand Prix at the Milan Trienale in 1957 and the Bundespreis Gute.

Starting in 1969 and ending in 1982, Wagenfeld directed his design office the Werksta (Workshop) Wagenfeld until 1978 and remained active and interested in the design community until his death in 1990. Bremen has honoured him with his own museum, the Wilhelm Wagenfeld House, and his works are collected by most important museums including the Museum of Modern Art in New York.

However it is the iconic steel WA24, also known as the Bauhaus Lamp, for which Wagenfeld is best remembered.

Other Design Posts

How our use of metals and finishing processes features in design today and since prehistoric times.

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Wilhelm Wagenfeld, a design legend - a review of the life and work of this influential designer | Double Stone Steel

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Wilhelm Wagenfeld was born in the northern German city of Bremen in 1900, on the 15th April and passed away at the age of 90 on the 28th of May 1990, in Stuttgart As a young boy Wagenfeld studied drawing at the Bremen Boys School before starting his adult life as an apprentice in the silverware factory belonging to Koch & Bergfeld.

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The website have talk about Germany art
- Germany  very take care of artwork of the past (After World War Two )

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German art history is one of the finest examples of just how different one country's scene can be when compared to their neighboring nations. Although its artistic heritage is sometimes not appreciated enough in comparison to the adjacent countries, and because of the two World Wars which stagnated its 20th-century art, Germany still remained a country that had its own say in most European movements and periods. Historically speaking, the definite highlight of German art history is the architectural heritage with its immense value to archaeologists, historians and art lovers alike. German builders and architects were renowned throughout the Old Continent and were highly sought after. The finest examples of Romanesque and Gothic architecture can be found in Germany, whilst some of the most impressive Baroque and Rococo churches and palaces also call this country their home. Of course, there were German artists who contributed to other mediums, such as the famed Albrecht Dürer[1], but the marvels of lightness and spatial complexity of Germany's architectural achievements are truly unparalleled. Regardless of what medium or style German painters, sculptors and architects were creating in, they were always seeking to establish a national approach to every piece. Their Gothic buildings are unique in both decoration and technique segments, Renaissance works[2] are radically different than the artwork of their Italian contemporaries, Baroque gems differ from French pieces, etc. It is that separatistic characteristic that makes German art history such an exciting topic to discuss.

This constant variation was due to the strong sense of German identity, an idea that their own heritage is something to be proud of and that it must not be compromised by outsider's influences. These kinds of ideas are deeply rooted in the visual arts of Germany, especially since the time of the 18th century and the conflicts with nearby countries. Ever since then, many felt that German states were in danger of losing their own identity. Therefore, artists had the duty of preserving their own art without allowing elements of other scenes - especially French elements- to set their roots in Germany. Such concepts culminated in many popular theories such as the 18th-century idea that Germans were the closest relatives of Ancient Greeks and Romans. Of course, the most prominent of these theories found their way into the core of every art movement Germany went through in the last few centuries. This shall be elaborated in the remainder of this text as we go through the most notable moments of German art history.

Neoclassicism

The decades which served as the Neoclassicism chapter of German art were quite dynamic, to say the least. This famed art movement appeared rather earlier in Germany than in France, which is a bit ironic as French Neoclassicism is often used as the primary example of this period. There were three artists who marked this part of German art history - a sculptor Gottfried Schadow (1764-1850) and two painters, Anton Raphael Mengs (1728-79) and Asmus Jacob Carstens (1754-98). Mengs was the absolute star of the three as he established the vocabulary of an early Neo-Classical style in Germany. On the other hand, Carstens' shorter career was turbulent and troubled, marked with many unfinished pieces. The core idea of German Neoclassicism was not that different from its French counterpart - artists and theorists desired to revive art and return it to the greatness of ancient Greece and Rome. In other words, representatives of this movement were hoping for another Renaissance-like moment. Neoclassicism can also be very precisely defined as a reaction to the emotionally strained Baroque.

Just as the case was with French Neoclassicism, the German take on the movement was conceptually connected with the idea of Enlightenment. This led to an increase of educated individuals and many new academies were starting to appear around Germany. This was also the time that Johann Joachim Winckelmann, a German man that quite literally initiated the study of arthistory and archeology as we see them today, was establishing his career. The pieces he wrote in the later periods of his life will prove to be the pivotal books of the subject, effectively making Winckelmann the father of the two disciplines. And he was not the only writer worth mentioning from this period - the Enlightenment period saw German writers becoming leading theorists and critics of art, all led by Winckelmann who praised Ancient Greek art. Hearing his ideas, German artists of Neoclassicism gathered around the ideas of a free man and ancient heritage, which was heavily reflected in the visuals of their artworks. Inspired by Winckelmann's success, Goethe and Friedrich Schiller also started exploring similar topics. Therefore, the Neoclassicism period of German art history is more connected to the written word than to the visual arts. This is what distinguishes it from Neoclassicism of other countries.

Romanticism and the Nazarenes

Unlike the times of German Neoclassicism, the next period of this country's art was a lot more innovative and distinctive from other European countries. Romanticism gave birth to a number of artists with very individual styles. The most notable and influential artist of German Romanticism was the legendary Caspar David Friedrich, one of the greatest painters to have ever lived. He mostly painted landscapes[3] underlined by a strong Northern character and a feeling of religious stillness. This artist would often introduce human subjects to his compositions but they are always lost in contemplation of the landscape. The romantic and enchanting paintings Caspar David Friedrich made in his time are some of the greatest and most beautiful pieces of German art. Unfortunately, Caspar David Friedrich was misunderstood for the majority of his life, but this visionary from Germany's great Romantic period can today be mentioned in the same breath as the likes of William Turner and John Constable.

Another movement of German art history can be linked to Romanticism. With a name that originally came from a mocking critic, the Nazarene movement was put in motion by early 19th-century German Romantic painters who aimed to revive honesty and spirituality in Christian art. The principal motivation of the Nazarenes was to oppose Neoclassicism and the routine art education of the academic system which they saw as wrong[4]. These artists hoped to return art on a course that leads to spiritual Christian values and because of that, they sought inspiration from the late Middle Ages and early Renaissance. Due to such concepts, the Nazarenes have often been connected to the mid 19th century English Pre-Raphaelite Brotherhood, a group who had rather similar goals. The main artists of the Nazarene movement were Johann Friedrich Overbeck, Franz Pforr, Ludwig Vogel and the Swiss Johann Konrad Hottinger. These members developed most of their ideas in Rome, where they occupied the abandoned monastery of San Isidoro.

Biedermeier and Secession

The term Biedermeier refers to a style of literature, music, the visual arts and interior design in the period between the end of the Napoleonic Wars in 1815 and the overwhelming revolutions of 1848. The art of this period appealed to the prosperous middle classes by detailed but polished realism, often celebrating domestic German virtues. An artist Carl Spitzweg was a leading German figure of the Biedermeier style[5]. It should be noted that this movement was of international character and other European countries had its own takes on Biedermeier. The second half of the 19th century Germany did not have a particular movement or style, but it was marked by an even stronger tendency to highlight the nation's proud identity. The Berlin Secession group is the last notable moment in the 19th-century German art - an association founded in 1898 by painters Max Liebermann and Lovis Corinth. This is one of the most influential groups from the end of the century, which is rather interesting as the Berlin Secession did not impose a particular style and was rather lax in that department.

German Art History of the 20th Century

Investigating the 20th-century German art is an intriguing topic. The reason for this is because during the years between 1900 and 1945 Germany went through two World Wars[6], a long list of technological and cultural changes, and had so many different protest art movements that sometimes it is difficult to tell them all apart. Furthermore, many of the artists were in multiple groups over the years, sometimes changing their artistic styles along the way. This situation meant that German art of the 20th century was developed through a number of loose groups and movements, underlined by the nation's most shameful period of which many German artists were well aware of. After both World Wars ended, Germany went into a turmoil on all fronts including the culture one but was still able to make an impact on contemporary art. Unfortunately, we are stripped from the knowledge just how much this nation's artists would be able to change the course of art if Germany did not cause the most devastating and horrifying events the world has ever seen.

Die Brücke (The Bridge) and Der Blaue Reiter (The Blue Rider)

The Bridge and The Blue Rider were two groups of German painters fundamental to the development of Expressionism, one of the key movements of early avant-garde[7]. Die Brücke was a group of German expressionist artists formed in Dresden in the year of 1905 by architecture students who wanted to be painters. These were Fritz Bleyl (1880-1966), Erich Heckel (1883-1970), Ernst Ludwig Kirchner (1880-1938) and Karl Schmidt-Rottluff (1884-1976). Although Die Brücke broke up in 1913, the group did manage to rediscover woodcut as a valid medium and lay the grounds for many abstract concepts of art. Der Blaue Reiter was formed in Munich in 1911. The group's forming is closely tied to its most important member, who was, in fact, a Russian painter. This is Wassily Kandinsky and it was after his painting Last Judgment was rejected by a prestigious Berlin gallery that The Blue Rider came to be. Franz Marc, August Macke, Alexej von Jawlensky and Marianne von Werefkin were other members of the group. Their entire output was based on Wassily Kandinsky's ideas on expression and devoutness channeled towards an honest, direct and spiritually engaged artwork.

Dada and Bauhaus

Another major feature of German art emerging from the early 20th century was a strong tendency towards producing works of a grotesque style[8]. Artists like George Grosz, Otto Dix and Max Beckmann are all good examples of how grotesque expression shaped a person's portfolio. Dadaistic concepts had a great role to play as far as German grotesque style is concerned. Interestingly, Dada in Germany was a lot more political than the case was in other countries. Kurt Schwitters and Hannah Höch are the leading practitioners of Germany's Dadaistic expression. Schwitters is also important for his Merzbau, a forerunner of installation art. Max Ernst worked in Dada style as well, but because of his transition into Surrealism, we can not call him the leading representative of German Dada.

There was another important moment in German art history before the Nazi government was established and that is the now legendary Bauhaus school. This was the most influential modernist art school of the 20th century and the approach to teaching and understanding art's relationship to society was quite revolutionary. Bauhaus' goal was to level the distinction between fine and applied arts, reuniting creativity and manufacturing. Besides the founder of Bauhaus, Walter Gropius, there were other greats from German art associated with this institution - such as Ludwig Mies van der Rohe, Josef Albers, Laszlo Moholy-Nagy, Paul Klee, Johannes Itten and Marcel Breuer.

Art in the Third Reich

Although the most notorious by far, the art in the Third Reich may very well be the most interesting period of German art history to study. The rigorous Nazi regime banned modern art, explaining such a decision by stating that such art is highly degenerated. As far as the Nazi ideology was concerned, this art deviated a bit too far from the prescribed norm of classical beauty. The period between the 1920s and Hitler's rise to complete power over Germany was marked by a common disagreement with avant-garde artists, but it never went too far from harsh words. However, when Hitler made sure the three main political roles of Germany were his, all the avant-garde artists were branded as both enemies of the state and a threat to the German nation's identity[9]. What followed is an all too well-known scenario to Nazi Germany, as only some were lucky enough to leave the country on time. In order to prove the devastating effect of modern art, Nazis mounted a polemical exhibition entitled Entartete Kunst (Degenerate art) in Munich, during July of 1937. This show was intended to be an official condemnation of modern art. It included over 650 paintings, sculptures, prints and books from the collections of thirty-two different German museums.

Post-WWII Chapter of German Art History

All the German art trends after the horrors of World War II can broadly be divided into Neo-expressionism and Conceptualism. The first grouping included the likes of Georg Baselitz, Anselm Kiefer, Jörg Immendorff, Markus Lüpertz, Peter Robert Keil and Rainer Fetting. The second grouping had its own notable representative as well as the leading German conceptual artists included Bernd and Hilla Becher, Hanne Darboven, Hans-Peter Feldmann, Hans Haacke and Charlotte Posenenske. There were many individuals who desired to work within traditional borders, such as Martin Kippenberger, Gerhard Richter, Sigmar Polke and Neo Rauch. However, they were nowhere near making an impact on German art as much as artists of Neo-expressionism and Conceptualism. Performance art was also a huge innovation to Germany and its scene - Joseph Beuys was perhaps the most influential German artist of the post-World War II era. This performance artist, sculptor and theorist had many contributions to German culture, with his famous statement that Everyone is an artist and the idea behind it being the biggest game-changer of the time.

Editors' Tip: German Essays on Art: Winckelmann, Burckhardt, Panofsky, and others

The essays in German Essays on Art: Winckelmann, Burckhardt, Panofsky, and others are chosen to introduce the reader to some of the writers who initiated and shaped the study of art in the German-speaking countries. Among the essayists are Johann Joachim Winckelmann, Johann Wolfgang von Goethe, Jacob Burckhardt, Franz Wickhoff and Erwin Panofsky. This collection of major works presents us with an overview of German literature and thought from medieval to present times. The readers are able to see the poetic and intellectual achievements of German art history and just how influential it's written word was to the development of European expression. Ultimately, German Essays on Art: Winckelmann, Burckhardt, Panofsky, and others offers a fantastic overlook and perspective on Germany's contribution to the world at heritage.
References:

1. Bartrum, G., Albrecht Dürer and his legacy: the graphic work of a Renaissance artist, British Museum Press, 2002

2. Bartrum, G., German Renaissance Prints, 1490-1550, British Museum Press, 1995

3. Sir Kenneth, C., Landscape into Art, Penguin , 1961

4. Gombrich, E.H., The Story of Art, Phaidon, 1982

5. Griffiths, A., German art history in the Age of Goethe, British Museum Press, 1994

6. Snyder, J., Northern Neo-Renaissance Art, Harry N. Abrams, 1985

7. Jacobus, J., Modern German Art: Painting, Sculpture, Architecture, Prentice Hall and Harry N. Abrams, 2000

8. Honour, H., A World of Art, ISBN, 1982

9. Hamilton, G., modern Painting and Sculpture in Europe, Yale University Press, 1983

Featured images: Caspar David Friedrich - Untitled Landscape - Image via pinterest.com; Albrecht Dürer - Saint Anthony - Image via wikiart.org; Anton Raphael Mengs - Judgement of Paris - Image via oceanbridge.com; A Bauhaus Poster - Image via bp.com; Joseph Beuys - I Like America and America Likes Me, 1974 - Image via pinterest.com

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German Art History in 7 Important Points | Widewalls

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German art history is one of the finest examples of just how different one country's scene can be when compared to their neighboring nations. Although its artistic heritage is sometimes not appreciated enough in comparison to the adjacent countries, and because of the two World Wars which stagnated its 20th-century art, Germany still remained a country that had its own say in most European movements and periods.

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-1886-1969
-Architect

Reference:
1.https://www.architecture.org/learn/resources/architecture-dictionary/entry/ludwig-mies-van-der-rohe/
2. (NTU Library E-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000678380&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Ludwig%20Mies%20van%20der%20Rohe&offset=0

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It's difficult to imagine what the skyline of Chicago might look like without architect Ludwig Mies van der Rohe. He influenced an entire generation of architects while tenured as head of the architecture department at the Illinois Institute of Technology (IIT). During his 60-year career, Mies established a design vocabulary that helped define Mid-Century Modern architecture.

Mies did not design buildings with a particular style in mind. For him, the philosophy came first. How a building looked was purely an expression of its era and its materials. As he explained, "I am not interested in the history of civilization. I am interested in our civilization. We are living it. Because I really believe, after a long time of working and thinking and studying that architecture...can only express this civilization we are in and nothing else."

When Mies arrived in the United States in 1938, he was already internationally known and established in his field. He designed one of his most famous buildings-the Barcelona Pavilion-as the German Pavilion for the 1929 International Exposition in Spain. It's a magnificent example of his trademark emphasis on open space. Soon after that success, he served as director of the Bauhaus, the school of design in Germany. He elected to close the school in 1933 and eventually left his home country due to mounting pressure from the growing Nazi regime.

From 1939 to 1958, Mies served as head of the architecture department of IIT, where he not only redesigned the department's curriculum but also the university's campus. A year after his appointment, he developed plans for the recently expanded 120-acre campus. Mies designed a collection of buildings with steel and concrete frames wrapped in brick and glass curtain walls, including his masterpiece: Crown Hall. The campus was revolutionary at the time, and it perfectly expressed Mies' design principles and "less is more" approach.

In 1960, Mies was awarded the AIA Gold Medal, which is the highest award given by the American Association of Architects. Considered among the greatest architects of the 20th century, Mies' influence can be seen throughout Chicago and certainly reaches far beyond his adopted hometown.

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It's difficult to imagine what the skyline of Chicago might look like without architect Ludwig Mies van der Rohe. He influenced an entire generation of architects while tenured as head of the architecture department at the Illinois Institute of Technology (IIT). During his 60-year career, Mies established a design vocabulary that helped define Mid-Century Modern architecture.

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-1883-1969
-Architect
-Educator who, particularly as director of the Bauhaus (1919–28)

Reference:
1.https://www.theartstory.org/artist/gropius-walter/
2. (NTU Library E-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000042641&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Walter%20Gropius&offset=0

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Summary of Walter Gropius

Not only was Walter Gropius one of the pioneers of modern architecture, he was the founder of the Bauhaus, a revolutionary art school in Germany. The Bauhaus replaced traditional teaching methods with a flexible artistic community, focusing on a collaborative approach to learning and the creation of integrated design projects. Later, the Bauhaus also incorporated mass production techniques into its output, designing objects and buildings for a wide audience. The school taught some of the most famous names in modernism as well as attracting established artists working within the fields. Despite its relatively short-lived existence, the Bauhaus and the design styles associated with it were hugely influential on a global scale, but particularly so in the United States where many of the artists moved before and during the Second World War to escape persecution by the Nazis.

Accomplishments

Gropius believed that all design should be approached through a study of the problems that needed to be addressed and he consequently followed the modernist principle that functionality should dictate form. He applied these beliefs to wider social issues, designing affordable housing in the interwar period and seeking to improve physical conditions for factory workers through his architecture.

As well as pushing boundaries in architectural design, Gropius also experimented with innovative building and assembly techniques using prefabricated units and new materials such as reinforced concrete. Similar ideas were later utilised to create cheap, mass produced housing in the 1940s (known as prefabs).

Gropius is credited with the introduction of modernist architecture to the United States through his design of the Gropius House and his teaching at Harvard University. Gropius's buildings were in stark contrast to previous architectural styles and were characterized by their cubic design, flat roofs and expanses of glass that allowed for a merging of interior and exterior spaces.

Biography of Walter Gropius

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Not only was Walter Gropius one of the pioneers of modern architecture, he was the founder of the Bauhaus, a revolutionary art school in Germany. The Bauhaus replaced traditional teaching methods with a flexible artistic community, focusing on a collaborative approach to learning and the creation of integrated design projects.

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-1938
-Graphic Designer

Reference:
1. https://www.gunter-rambow.com

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-1868-1940
-Graphic Designer
-1st Industrial Designer
-Architect

Reference:
1. https://enso.readymag.com/peter-behrens/foreword/
2. (NTU Library E-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000217428&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Peter%20Behrens

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-A documentary produced by BBC, talking about Bauhaus and how it still influences the world

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Bauhaus in 7 Minutes: Revolutionary Design Movement Explained

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Guide to 20 century remarkable artist in Germany(PPT)

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Guide to 20 century remarkable artist in Germany(PPT)

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Read this first

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- The video have many different options of art form Germany’s people.

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Easy German: Learn German From the Streets!

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What Germans think about art | Easy German 147

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- The video have show us many artwork in Germany (Berlin)

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Berlin Walk Mitte Haus Schwarzenberg 🇩🇪 [4K] Streetart, Art & Coulture, History, Germany

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-11 March 1850 – 15 June 1927
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Reference:
https://en.wikipedia.org/wiki/Sophie_von_Adelung

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Sophie von Adelung (11 March 1850 - 15 June 1927) was a German writer and painter. She also wrote under the pseudonym S. Aden.

Sophie von Adelung was born in Stuttgart, into a family of Russian origin; her father, Nikolaus von Adelung (1809-1878), was secretary to Queen Olga, and was a privy councillor in the Kingdom of Württemberg. In addition to his other work, Nikolaus was literary executor of his father, Friedrich von Adelung. Sophie's mother, Alexandrine von Schubert (1824-1901), was the daughter of General Friedrich von Schubert. Other children of the marriage between Alexandrine and Nikolaus included a son, named after his father, who became a noted entomologist, and another daughter, Olga, with whom Sophie collaborated on several works.

Her books, which she often illustrated herself, were mainly directed at young people. She also translated stories into German from Russian. She wrote regularly for magazines such as Die Frau ( Woman) and Fürs Haus ( For the House). Some of her work appeared in Thekla von Gumpert's Töchter-Album ( Daughter's Album).

Her circle included the pianist Maria von Harder, a former pupil of Chopin, whose memories of the composer were recorded by von Adelung, and her own cousin, Sofia Kovalevskaya, who visited her Adelung relatives as a young woman. Sophie von Adelung produced a memoir of her cousin in 1896, after Kovalevskaya's death.

Zwei Mädchenbilder in Pastell. Erzählungen für junge Mädchen (1888)

Russlana. Erzählung für junge Mädchen (1888)

Kleeblatt. Drei Erzählungen für junge Mädchen (1889)

Jugenderinnerungen an Sophie Kowalewsky (1896)

Jugendbühne. Ernste und heitere Theaterstücke für die Jugend herausgegeben von Sophie von Adelung (5 volumes)

Band 1: Heinrich von Eichenfels, Die Schneckenvroni, Der Grösste

Band 2: Der Lumpensammler, Die Maikönigin

Band 3: Rosa von Tannenburg. Das Blumenkörbchen. Das Johanniskäferchen. (58)

Band 5: Der verzauberte Königssohn (nach einem Märchen von M. Chovanetz; 1897)

Das graue Fräulein auf Scharfenstein. Hessische Volkssage (1897)

Sonntagsfriede am Werktag (1920)

Chopin als Lehrer (1923)

Täubchen (1924)

Hamsmelis Mäxle (1830)

Der grössere Held und Das Professorle

Media related to Sophie von Adelung at Wikimedia Commons

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Sophie von Adelung (11 March 1850 - 15 June 1927) was a German writer and painter. She also wrote under the pseudonym S. Aden. Sophie von Adelung was born in Stuttgart, into a family of Russian origin; her father, Nikolaus von Adelung (1809-1878), was secretary to Queen Olga, and was a privy councillor in the Kingdom of Württemberg.

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-1847–13 March 1927
-produce medals, busts, heads and statuettes, often in bronze
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Reference:
https://en.wikipedia.org/wiki/Anna_Dabis

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Anna Dabis (1847-13 March 1927) was a German sculptor who spent a large part of her career in Britain.

Dabis was born on the island of Rügen in Germany, where her father was a pastor. After her parents died at an early age, Dabis was raised by relatives before moving to England around 1881 to take a teaching post. She enrolled in the National Art Training School in South Kensington where she was taught sculpture by Édouard Lantéri and won a silver medal in the 1885 National Competition.

Dabis began to produce medals, busts, heads and statuettes, often in bronze and between 1888 and 1895 she exhibited ten works at the Royal Academy in London. She supported the suffragette movement and in 1889 she signed the Declaration in Favour of Women's Suffrage. After living in London for many years, Dabis moved to Southfleet in Kent. King's College London holds her bronzed plaster bust of Frida Mond.

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Anna Dabis (1847-13 March 1927) was a German sculptor who spent a large part of her career in Britain. Dabis was born on the island of Rügen in Germany, where her father was a pastor. After her parents died at an early age, Dabis was raised by relatives before moving to England around 1881 to take a teaching post.

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-1898–1989
-She worked as a photographer at the Birmingham Repertory Theatre where she photographed many plays.
-After the Second World War she was able to set up her own photographic studio at her home in Moseley.
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Reference:
https://en.wikipedia.org/wiki/Lisel_Haas

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Lisel Haas (1898-1989) was a German female photographer. She worked as a photographer at the Birmingham Repertory Theatre where she photographed many plays. She obtained work with the theatre in 1940, photographing almost every production until she left Birmingham in 1962. During this time many promising actors appeared including Paul Schofield, Albert Finney, Ian Richardson and Derek Jacobi. She also covered productions at the Alexandra Theatre in Birmingham, the Belgrade Theatre in Coventry and the Kidderminster Playhouse. After the Second World War she was able to set up her own photographic studio at her home in Moseley. She worked from here until she left Birmingham.

Lisel Haas was born in Mönchengladbach, Germany in 1898 to Jewish parents. She worked as a portrait photographer and photojournalist. Her special interests were urban childhood, travelling communities and religious practice. On 18 October 1938 she was issued with a decree from the Gladbach Police Authority stipulating that she must display a notice in the window of her photographic studio stating that it was a 'Jewish business' with threat of punishment. Following Kristallnacht in November 1938 she abandoned her studio and left Germany with her father. Their application for asylum in the United States was turned down so they turned to Britain and arrived in Birmingham in December 1938.

Through the medium of photography Haas attempted to create a 'universal language' through which we are able to remember events and personal memories. She believed that 'life' provided the link between her and her sitters and gave their force and effect. Photography, she felt, was charged by life and by living. Amy Shulman argued that through the medium of photography Haas attempted to create a 'universal language' for both personal and collective memories.

The Birmingham City Archives held in the Library of Birmingham include original photographs and Lisel Haas' papers.

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Lisel Haas (1898-1989) was a German female photographer. She worked as a photographer at the Birmingham Repertory Theatre where she photographed many plays. She obtained work with the theatre in 1940, photographing almost every production until she left Birmingham in 1962. During this time many promising actors appeared including Paul Schofield, Albert Finney, Ian Richardson and Derek Jacobi.

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-1904/7/1 - 1997/9/13
-Brill deepened his research to create "Photo Analysis", a project which consisted of micro, macro, high-speed photography and cinematography.
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Reference:
https://www.artland.com/artists/fritz-brill

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How to become a partner gallery?

You can become a partner gallery by contacting our sales team or by signing up at artland.com/partners. As a gallery partner you can take over your gallery profile to get discovered by buyers from around the world and receive qualified leads that ultimately drive sales. If you want to have 3D recordings of your exhibitions you can also sign up for that.

Can I upload my private art collection?

Yes, you are able to upload your private art collection. You do that by downloading the iOS app here, create a profile and then start uploading. You can choose the privacy of the profile yourself and decide if the works should be visible for the public or not.

Why should I create a profile on Artland?

By creating a profile on Artland you will be able to upload you private art collection, make enquiries, follow artists and galleries, save and share artworks and receive our newsletters.

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How to become a partner gallery? You can become a partner gallery by contacting our sales team or by signing up at artland.com/partners. As a gallery partner you can take over your gallery profile to get discovered by buyers from around the world and receive qualified leads that ultimately drive sales.

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-1945/3/8
-The medium of Kiefer's works includes straw , fly ash , clay , lead , shellac, etc
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Reference:
1. https://gagosian.com/artists/anselm-kiefer/
2. (NTU Library e-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000333603&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Anselm%20Kiefer&offset=0

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Anselm Kiefer's monumental body of work represents a microcosm of collective memory, visually encapsulating a broad range of cultural, literary, and philosophical allusions-from the Old and New Testaments, Kabbalah mysticism, Norse mythology and Wagner's Ring Cycle to the poetry of Ingeborg Bachmann and Paul Celan.

Born during the closing months of World War II, Kiefer reflects upon Germany's post-war identity and history, grappling with the national mythology of the Third Reich. Fusing art and literature, painting and sculpture, Kiefer engages the complex events of history and the ancestral epics of life, death, and the cosmos. His boundless repertoire of imagery is paralleled only by the breadth of media palpable in his work.

Kiefer's oeuvre encompasses paintings, vitrines, installations, artist books, and an array of works on paper such as drawings, watercolors, collages, and altered photographs. The physical elements of his practice-from lead, concrete, and glass to textiles, tree roots, and burned books-are as symbolically resonant as they are vast-ranging. By integrating, expanding, and regenerating imagery and techniques, he brings to light the importance of the sacred and spiritual, myth and memory.

Anselm Kiefer was born in 1945 in Donaueschingen, Germany. After studying law and Romance languages, he attended the School of Fine Arts at Freiburg im Breisgau and the Art Academy in Karlsruhe while maintaining a contact with Joseph Beuys.

Kiefer's work has been shown and collected by major museums worldwide, including the following: "Bilder und Bücher," Kunsthalle Bern, Switzerland (1978); "Verbrennen, verholzen, versenken, versanden," West German Pavilion, 39th Biennale di Venezia, Italy (1980); "Margarete-Sulamith," Museum Folkwang, Germany (1981); Kunsthalle Düsseldorf, Germany (1984, traveled to ARC Musée d'Art Moderne de la Ville de Paris, France; and Israel Museum, Jerusalem); "Peintures 1983-1984," Musée d'Art Contemporain, Bordeaux (1984); and Art Institute of Chicago, Illinois (1987, traveled to Philadelphia Museum of Art, Pennsylvania; Museum of Contemporary Art, Los Angeles; and Museum of Modern Art, New York, through 1989).

Further museum exhibitions include "Bücher 1969-1990," Kunsthalle Tübingen, Germany (1990, traveled to Kunstverein München, Germany; and Kunsthaus Zürich, Switzerland, through 1991); Neue Nationalgalerie Berlin, Germany (1991); "Melancholia," Sezon Museum of Art, Tokyo (1993, traveled to Kyoto National Museum of Art, Japan; and Hiroshima Museum of Contemporary Art, Japan); "Himmel-Erde," Museo Correr, Venice (1997); and "El viento, el tiempo, el silencio," Museo Nacional Centro de Arte Reina Sofía, Madrid (1998).

In recent years, Anselm Kiefer's solo exhibitions have included Guggenheim Museum Bilbao, Spain (2000); "Maleri 1998-2000," Louisiana Museum of Modern Art, Humlebkæk, Denmark (2001); "Die sieben Himmelspaläste," Fondation Beyeler, Basel (2001); "I sette palazzi celesti," Fondazione Pirelli, Milan (2004); "Heaven and Earth," Modern Art Museum of Fort Worth, Texas (2005, traveled to Musée d'Art Contemporain de Montréal, Québec; Hirshhorn Museum and Sculpture Garden, Washington D.C.; and San Francisco Museum of Modern Art, California, through 2007); Guggenheim Museum Bilbao, Spain (2007); "Sternenfall / Chute d'étoiles," Monumenta, Grand Palais, Paris (2007); "Anselm Kiefer au Louvre," Musée du Louvre, Paris (2007); Louisiana Museum of Modern Art, Humlebkæk, Denmark (2010); "Shevirat Hakelim," Tel Aviv Museum of Art, Israel (2011); "Beyond Landscape," Albright-Knox Art Gallery, Buffalo (2013); Royal Academy of Arts, London (2014); "l'alchimie du livre," Bibliothèque Nationale de France, Paris (2015); Centre Georges Pompidou, Paris (2015); "Kiefer Rodin," Musée Rodin, Paris (2017, traveled to the Barnes Foundation, Philadelphia, through 2018); "For Velimir Khlebnikov - Fates of Nations," State Hermitage Museum, St. Petersburg (2017); and "Provocations," The Met Breuer, New York (2017).

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Anselm Kiefer's monumental body of work represents a microcosm of collective memory, visually encapsulating a broad range of cultural, literary, and philosophical allusions-from the Old and New Testaments, Kabbalah mysticism, Norse mythology and Wagner's Ring Cycle to the poetry of Ingeborg Bachmann and Paul Celan.

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-1891/4/2 - 1976/4/1
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Reference:
1. (NTU Library e-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000192538&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Max%20Ernst&offset=0
2. https://en.wikipedia.org/wiki/Max_Ernst

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-1941/2/13-2010/6/10
-his works were mainly photography creation
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Reference:
1. (NTU Library e-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000717014&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Sigmar%20Polke&offset=0
2. https://en.wikipedia.org/wiki/Sigmar_Polke

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-1938/1/23
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Reference:
https://gagosian.com/artists/georg-baselitz/

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Learn about the work and career of artist Georg Baselitz. Artworks, biography, exhibitions, news, museum exhibitions, press, and more.

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-1867/8/7-1956/ 4/13
-watercolour
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Reference :
1. https://en.wikipedia.org/wiki/Emil_Nolde
2. (NTU library E-book) https://ntu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=NTU_LMS_DS000043356&context=L&vid=NTU_VU10&lang=en_US&search_scope=LSCOP_NTU_LMS_DS&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,Emil%20Nolde&offset=0

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Emil Nolde (born Hans Emil Hansen; 7 August 1867 - 13 April 1956) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.

Nolde's intense preoccupation with the subject of flowers reflected his interest in the art of Vincent van Gogh.

Even though his art was included in the Entartete Kunst exhibition of 1937, Nolde was a racist, anti-semite and a staunch supporter of Nazi Germany.

Emil Nolde was born as Hans Emil Hansen, near the village of Nolde (since 1920 part of the municipality of Burkal in Southern Jutland, Denmark), in the Prussian Duchy of Schleswig. He grew up on a farm. His parents, devout Protestants, were Danish and Frisian peasants. He realized his unsuitability for farm life, and that he and his three brothers were not at all alike. Between 1884 and 1891, he studied to become a woodcarver and illustrator in Flensburg, and worked in furniture factories as a young adult. He spent his years of travel in Munich, Karlsruhe and Berlin.

In 1889, he gained entrance into the School of Applied Arts in Karlsruhe. He was a drawing instructor at the school of the Museum of Industrial and Applied Arts ( Industrie- und Gewerbemuseum; today the Textilmuseum, or Textile Museum) in St. Gallen, Switzerland, from 1892 to 1898. He eventually left this job to finally pursue his dream of becoming an independent artist. As a child he had loved to paint and draw, but he was already 31 by the time he pursued this new career. When he was rejected by the Munich Academy of Fine Arts in 1898, he spent the next three years taking private painting classes, visiting Paris, and becoming familiar with the contemporary impressionist scene that was popular at this time. He married Danish actress Ada Vilstrup in 1902, and moved to Berlin, where he would meet collector Gustav Schiefler and artist Karl Schmidt-Rottluff, both of whom would advocate his work later in life. From that year, he called himself after his birthplace.

He became a member of the revolutionary expressionist group Die Brücke (The Bridge), of Dresden, in 1906, upon the group's invitation. This association lasted only until the end of the following year. He was a member of the Berlin Secession from 1908 to 1910, but was then excluded owing to a disagreement with the leadership. He exhibited with Kandinsky's Munich-based group Der Blaue Reiter (The Blue Rider) in 1912; by this time he had achieved some fame, and was able to support himself through his art.

Nolde was a supporter of the National Socialist German Workers' Party from the early 1920s, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered Expressionism to be a distinctively Germanic style. This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.

However, Adolf Hitler rejected all forms of modernism as " degenerate art", and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great esteem in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist. Some were included in the Entartete Kunst exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi Baldur von Schirach in Vienna. He was not allowed to paint-even in private-after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the "Unpainted Pictures".

In 1942, Nolde wrote:

There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed.

After World War II, Nolde was once again honoured, receiving the Pour le Mérite.

While acknowledging his success as a brilliant colourist, greater awareness of Nolde's commitment to Nazism and a discussion of the relationship between his politics, denunciation of non-Jewish adversaries as Jews, and his art is considered in more recent scholarship. A recent exhibition ( Emile Nolde: A German Legend, The Artist during the Nazi Regime, Berlin National Gallery, 2019) examined Nolde's self-professed Nazi leanings, and the tendency of postwar art historians to downplay them.

Apart from paintings, Nolde's work includes many prints, often in color, and watercolor paintings of varied subjects (landscapes, religious images, flowers, stormy seas and scenes from Berlin nightlife). A famous series of paintings covers the German New Guinea Expedition, visiting the South Seas, Moscow, Siberia, Korea, Japan, and China. The Schiefler catalogue raisonné of his prints describes 231 etchings, 197 woodcuts, 83 lithographs, and four hectographs.

Although religious images make up a relatively small part of Nolde's artistic oeuvre, he considered some to be "milestones" with respect to his progression as an artist.

Nolde, who grew up a farmer's son in a small, religious community near the German-Danish border, was left with lasting impressions of Judeo-Christian stories after reading the Bible in its entirety. In his early religious works (1900-1904), he was unable to solidify his own style and distinguish himself from several role models, Jean-François Millet and Honoré Daumier.

1906 was a turning point for Nolde when he shifted from an impressionistic style to a depiction of religious themes that emphasized the emotion of the moment, use of bright colors and only two dimensions of representation. This new devotion to religious artwork was hastened by a near death experience in 1909 after drinking poisoned water at the age of 42. After 1911 Nolde's religious treatments-now including etchings-became darker and more ominous in tone than his previous works. Even his wife, Ada, was unnerved by his bold vision. In response to his nine-part The Life of Christ, she wrote in a letter: "For the first few days I was only able to take a furtive peek now and then, so strong was the effect."

"South Sea Islander" South Sea Islander (Südsee-Insulaner II), lithograph in colors, on wove paper, Brooklyn Museum, 1915.

"Wildly Dancing Children," oil on canvas, 1909.

"Flower Garden" (without figure) ( Blumengarten, ohne Figur), oil painting on canvas, 1908.

"Head with Pipe (Self Portrait)," lithograph, 1907.

Nolde's work is exhibited at major museums around the world, including Portrait of a Young Woman and a Child, Portrait of a Man (c. 1926), and Portrait of a Young Girl (1913-1914) at the Hermitage Museum, Saint Petersburg, Russia; and Prophet (1921) and Young Couple (1913) at the Museum of Modern Art, New York City. His most important print, The Prophet (1912), is an icon of 20th-century art.

Among his most important oils are Lesende junge Frau (1906), Blumengarten (ohne Figur) (1908), and Blumen und Wolken (1933).

Other important works:

Lesende junge frau, 1906, oil on canvas, Kunsthalle Kiel

Blumengarten (ohne Figur), 1908, oil on canvas, Sotheby's purchaser 8 February 2012

Anna Wieds Garten, 1907, oil on canvas, Private Collection

Steigende Wolken, 1927, oil on canvas, Karl-Ernst-Osthaus-Museum, Hagen

Grosse Sonnenblumen, 1928, oil on canvas, The Metropolitan Museum of Art, New York

Blumen und Wolken, 1933, oil on canvas, Museum Sprengel, Hanover

In recent years, Nolde's paintings have achieved prices of several million US dollars, in auctions conducted by the leading international auction houses. On 8 February 2012, Blumengarten (ohne Figur) was sold by Sotheby's in London for US$3,272,673.

Nolde's work has become the focus of renewed attention after a painting entitled Blumengarten (Utenwarf) from 1917, which now hangs in the art museum Moderna Museet, Stockholm, Sweden, and has been valued at US$4,000,000, was discovered to have been looted from Otto Nathan Deutsch, a German-Jewish refugee whose heirs, including a Holocaust survivor, are asking for its return. The Swedish government decided in 2007 that the museum must settle with the heirs. Deutsch was forced to flee Germany before World War II and left for Amsterdam in late 1938 or early 1939. The painting was sold to the Swedish museum at an auction in Switzerland, where it had resurfaced in 1967.

In 2015, Nolde's Maiwiese (Maienwiese) [Meadow in May], 1915, (Inv. Nr. 94) was restituted by the Lentos Art Museum in Linz to the heirs of Dr. Otto Siegfried Julius.

In 2000 the Wilhelm Lehmbruck Museum Foundation, Duisburg rejected a restitution request from the family of the Breslau (Wroclaw) collector Dr. Ismar Littmann for Nolde's painting Buchsbaumgarten (Boxtree Garden).

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Emil Nolde (born Hans Emil Hansen; 7 August 1867 - 13 April 1956) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke, and was one of the first oil painting and watercolor painters of the early 20th century to explore color.