LYCOS RETRIEVER 
Bauhaus: Bauhaus Manifest
built 622 days ago
The Bauhaus was born with the Weimar Republic in 1919 and died in the hands of the Nazis in 1933; they described the Bauhaus flat roof as 'oriental and Jewish', the institution as a hotbed of Bolshevism. It was transported in a revised form to America where Gropius later settled. His own copy of the manifesto is one of the exhibits in the Mima exhibition. On the cover is Lyonel Feininger's famous Kathedrale woodcut - not a static or repressive gothic cathedral but a tremendously energetic, jazzed up image full of a dissidence and vision for the future. The image, like the Bauhaus Manifesto itself, was abstract and dynamic, liberated from the historically based teaching of the European art academies. Much of the Bauhaus vigour came as a consequence of Germany's defeat.
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As Walter Gropius wrote in the Bauhaus manifesto in 1919, ‘The ultimate aim of the visual arts is the building! Their noblest function was once the decoration of buildings. Today they exist in isolation, from which they can be rescued only through the conscious, cooperative efforts of all craftsmen. Architects, painters and sculptors must recognise again the composite character of a building as an entity’.
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Walter Gropius publie alors le manifeste et le programme du Bauhaus. Dans le manifeste du Bauhaus, il annonce le but de l'école en ces termes : « Le but final de toute activité plastique est la construction ! […] Architectes, sculpteurs, peintres ; nous devons tous revenir au travail artisanal, parce qu’il n'y a pas d'art professionnel. Il n’existe aucune différence essentielle entre l’artiste et l’artisan. […] Voulons, concevons et créons ensemble la nouvelle construction de l’avenir, qui embrassera tout en une seule forme : architecture, art plastique et peinture [...] »
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Bauhaus Manifest