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Informationen zum Autor Dr. Éva Forgács is formerly professor of art history at the Hungarian Academy of Crafts and Design, teaches at Art Center College of Design in Pasadena, California. She has been active as a curator, art critic, and essayist. Klappentext Forgacs examines the development of the Bauhaus school of architecture and applied design by focusing on the idea of the Bauhaus, rather than on its artefacts. What gave this idea its extraordinary powers of survival? Founded in 1919, with the architect Walter Gropius as its first director, the Bauhaus carried within it the seeds of conflict from the start. The duration of the Bauhaus coincides very nearly with that of the Weimar Republic; the Bauhaus idea - the notion that the artist should be involved in the technological innovations of mechanization and mass production - is a concept that was bound to arouse the most passionate feelings. It is these two strands - personal and political - that Forgacs so cleverly interweaves. The text has been extensively revised since its original publication in Hungarian, and an entirely new chapter has been added on the Bauhaus's Russian analogue, VkhUTEMAS, the Moscow academy of industrial art. Zusammenfassung The text which has been extensively revised since its original publication in Hungarian, and an entirely new chapter has been added on the Bauhaus's Russian analogue, examines the development of the Bauhaus school of architecture and applied design by focusing on the idea of the Bauhaus, rather than on its artefacts. Inhaltsverzeichnis List of illustrations, Picture credits, Acknowledgments, Introduction, Chapter 1. The Beauty of Progress, Chapter 2. Time out of Joint, Chapter 3. 'We Shall Draw Grand Designs, Chapter 4. First Steps, Chapter 5. Weimar, Chapter 6. Breathing Exercises, Chapter 7. Time 'PEOPLE CRITICIZE THE CAUSE THEY ESPOUSE' THE VAN DOESBURG EPISODE, Chapter 8. New Faces, Chapter 9. If We Intend to Survive, Chapter 10. The New Unity, Chapter 11. Man at the Control Panel, Chapter 12. The Part Versus the Whole, Chapter 13. Why did Gropius Leave? Chapter 14. Hannes Meyer, Chapter 15. Parallel Fates? PRIMARY SOURCES, SECONDARY SOURCES, Index...
