TABLE OF CONTENTS INSIDE CHRONOLOGY

BAU 1919 The Bauhaus, founded in Weimar 1919 by Walter Gropius.

HAUS
COVER
by wang phan 20 The Bauhaus experiences first public hostility. The attacks are ideological, but flare up
in the context of artistic issues.

TABLE OF CONTENTS
by kimberlee osmun
21 Gropius and Adolf Meyer build the Haus Sommerfeld in Berlin in an expressionist
style. It is the first project involving the aspired unity of arts in architecture.

CHRONOLOGY .......................... 1
by greg ciro tornincasa
22 Gropius restructures his ideas as to the aims of the Bauhaus. The major focus
is directed towards reflecting on industrial methods of production and their

HISTORY ..................................... 2 consequences for design.

by sandra bradley
23 Preparations start for the “Bauhaus Exhibition”, planned as a first comprehensive public
account of the schoolʼs activities. Gropius coins his new concept in the slogan “Art and
THE ARTISTS ............................... 6 technology - a new unity” and thereby recognizes industry as a decisive power of the
by wang phan &
kimberlee osmun
24 The “Circle of Friends of the Bauhaus” is founded in order to offer moral and practical
support for the school. Under political and financial pressure, the masters decide to
close the school in April of 1925.
BRADLEY MANIFESTO ............ 13
by sandra bradley
25 Gropius proclaims a new program dominated by the importance of industry and
science for design. In March, the municipal council of Dessau, on the initiative of the
BAUHAUS CONCEPTS ............ 17 Lord Mayor Fritz Hesse, decides to take over the Bauhaus as a municipal school.

by greg ciro tornincasa

26 On December 4, over 1,000 guests attend the opening of the new school building in
Dessau designed by Gropius and equipped by the Bauhaus workshops. The spectacular
FEELING BAUHAUS ................. 23 new buildings - as well as the school building the houses for the Bauhaus masters and the
housing project in Dessau - achieve international fame.
kimberlee osmun

27 A department for architecture is set up under the guidance of Hannes Meyer. Klee and

LOVE TRIANGLES .................... 27 Kandinsky give courses in free painting; the first purely artistic courses to be available.

by wang phan

BIBLIOGRAPHY ........................ 31 28 Gropius resigns from the Bauhaus in April to go to Berlin to work as an architect.
Moholy-Nagy, Bayer, and Breuer also quit the school.

by greg ciro tornincasa

BACK COVER 29 A department for photography is created under Peterhans. Ludwig Hilberseimer is
appointed to the building department.
by greg ciro tornincasa

30 Bauhaus wallpaper is put on the market and becomes the most successful commercial
product of the school.

31 The elections for the municipal council of Dessau take place. The first point of their
election campaign concerns cutting financial support to the Bauhaus and the
demolition of its buildings.

32 The school counts 14 students. Kandinsky, Albers, Hilberseimer, Reich, and Peterhans
are still on the teaching staff. A bill was passed to close the Bauhaus school. Mies van der
Rohe decides to continue the school as a private institute in Berlin.

1933 On April 11, at the start of the summer semester, the Bauhaus building undergoes a
police search and is placed under seal. 32 students are temporarily arrested. On July
20, the final dissolution of the Bauhaus is decided upon at a staff conference. The
most prominent Bauhaus teachers emigrated over to the United States and through
parts of Europe.

1
INSIDE HISTORY
BAU
HAUS
J O O S T S C H M I D T P O S T E R F O R T H E 19 2 3 B A U -
HAUS EXHIBITION IN WEIMAR
POLITICAL CLIMATE:
Germany was defeated in WWI, the
economy collapsed and it seemed evident
that a new order of thinking would be
necessary in order to bring Germany, and
the rest of Europe, back to stability. While
some looked to Marxism, others to fascism,
all seemed to turn against the bourgeois
ideals of capitalism. The “worker” became
the new Hero. Fulfilling his “needs”
became the Mission of the intellectuals and
planners of the new order.
BAUHAUS CHARACTERISTICS IN GRAPHIC DESIGN:
Geometric, functional and modern
Order, asymmetry
Rectangular grid structure
Circles, squares, rectangles,
triangles, bars, and rules to unify
or separate elements versus being
used for decoration
Horizontals and verticals were dominant
Extreme contrast in type size and
weight to achieve various degrees
of emphasis
Type and pictures sized to the
same column width
2 3
ROOTS OF
BAUHAUS:
Bauhaus can be traced to
the the Deutsches Werkbund
movement in Germany which
sought to elevate the production
of everyday objects from
utilitarian to art. Werkbund
gathered architects, artists,
factory owners and art patrons
together in 1097 to provide
impetus and financial support
to experimental design,
architecture, textile, furniture
design, and fine art. It failed.
Walter Gropius, a German
architect, was a leader of the
Werkbund movement. And
he rekindled the Werkbund
intentions and philosophy when
he was invited to head a new
school in Weimer, Germany.
This new school resulted in
the merger the Weimer Art
Academy and the Weimer
Arts and Crafts which, in 1919,
became the Bauhaus school.
THE BAUHAUS BUILDING SEEN
FROM THE SOUTH WEST
Typography without capitals - San Serif
Introduction of flush left - rag right
typography
Copy rotated 90 degrees
Only structurally essential
components used
Elementary forms and the use of
black plus one bright hue
Color tints emphasize key words
Open composition on an implied
grid system of sizes for type, rules,
and pictorial images brought unity
to the designs
GROPIUSʼ MANIFESTO:
Here is the excerpt from the manifesto: w“The ultimate aim of all creative activity is a
building! The decoration of buildings was once the noblest function of fine arts, and
fine arts were indispensable to great architecture. Today they exist in complacent
isolation, and can only be rescued by the conscious co-operation and collaboration of
all craftsmen. Architects, painters, and sculptors must once again come to know and
comprehend the composite character of a building, both as an entity and in terms of its
various parts. Then their work will be filled with that true architectonic spirit which, as
“salon art”, it has lost.” ... “Architects, painters, sculptors, we must all return to crafts! For
there is no such thing as “professional art”. There is no essential difference between the
artist and the craftsman. The artist is an exalted craftsman.” ... “Let us therefore create
a new guild of craftsmen without the class-distinctions that raise an arrogant barrier
between craftsmen and artists! Let us desire, conceive, and create the new building of
the future together. It will combine architecture, sculpture, and painting in a single form.”
BAUHAUS, [ ger., lit. “Architecture House”, From Bau = Building
(Bauen=to Build) + Haus = house.
BAUHAUS GOALS:
1) Encourge the individual artisan and craftmans to work cooperatively and combine
their skills;
2) Elevate the status of crafts, chairs, lamps, teapots, etc., to the same level enjoyed by
fine arts, painting, scultping, etc.,
3) Eventually gain independence from government support by selling designs to industry.
WALTER GROPIUS BAUHAUS MANIFESTO WOODCUT
C O V E R L Y O N E L F E I N I N G E R 1919
BAUHAUS SCHOOL:
The origins of Bauhaus were far from the earlier methods of education
in industrial art, art proper and architecture. Its program was based on
the newest knowledge in pedagogy. The idealistic basis of Bauhaus was
a socially orientated program. An artist must be conscious of his social
responsibility to the community, on the other hand, the community has to
accept the artist and support him.
The Bauhaus faculty came from all over Europe, and included Josef Albers,
Laszlo Moholy-Nagy, Johannes Itten, Wassilly Kandinsky, Paul Klee, Marcel
Breuer, Lyonel Feiniger, and Hannes Meyer. The basic idea of the Bauhaus
teaching concept was the unity of artistic and practical tuition. Every student
had to complete a compulsory preliminary course, after which he or she
had to enter a workshop of his or her choice. There were several types
of workshops available: metal, wood sculpture, glass painting, weaving,
pottery, furniture, cabinet making, three-dimensional work, typography,
wall painting, some others.
B A C K C O V E R O F A B R O C H U R E F O R T H E C I T Y O F D E S S A U I N 19 3 1 B Y
JOOST SCHMIDT
BAUHAUS EMBRACED:
The industrial age and the workshops were the birthplaces of new industrial designs.
For example, thousands of experiments with textiles were performed. Many of them
were adopted by the factories for production, and they were also eagerly copied.
Photography was taken more seriously as an art form. Innovation ran rampant through
the Bauhaus resulting in a multitude of advances affecting the most basic aspects of life.
If youʼve ever sat on a chair with a tubular steel frame, used an adjustable reading lamp,
or lived in a house partly or entirely constructed from prefabricated elements, you have
benefited from a revolution in design largely brought about by the Bauhaus.
A R I A N N E B R A N D T S M A L L T E A - E S S E N C E P O T 19 2 4
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INSIDE HISTORY
BAU
HAUS
BAUHAUS
DEMISE:
Bauhaus in general was
not embraced by the
public, industry, nor
government. The Nazis
saw Bauhaus as haven
for Jews, Bolsheviks,
and cosmopolitan “non-
German” viewpoints . In
1932, the Nazis gained
control of city parliament,
and forced the Bauhaus
school to close. And by
April 1933, Bauhaus was
no more in Germany.
L A S Z L O M O H O L Y - N A G Y, U N T I T L E D C O N S T R U C T I O N
19 2 2 T E M P E R A & C O L L A G E O N P A N E L
INFLUENCES OF BAUHAUS:
Constructivism is a term used to define a type of totally
abstract (non-representational) relief construction,
sculpture, kinetics and painting. The work is ordered
and often minimal, geometric, spatial, architectonic and
experimental in the use of industrial material.
The principles of constructivism theory are derived from
three main movements that evolved in the early part of
the 20th century: Suprematism in Russia, De Stijl (Neo
Plasticism) in Holland and the Bauhaus in Germany.
RUSSIA 1910-1921: During the early part of this period
the Russian avant-garde embraced Cubism and Futurism
and moved toward a non-objective art (art without
subject) exemplified by Kasmir Malevichʼs development
of Suprematism. The Suprematists deliberately given up
objective representation of their surroundings in order to
reach the summit of the true “unmasked” art and from this
vantage point to view life through the prism of pure artistic
feeling. In 1913-14 Vladimir Tatlin made and exhibited
several relief constructions using industrial materials
inspired by the Furturist Umberto Boccioniʼs vision of
ʻplastic configurations in spaceʼ and the 3D collages seen P I E T M O D R I A N , C O M P O S I T I O N W I T H R E D , Y E L L O W A N D B L U E 19 2 0 O I L O N C A N V A S
in Picassoʼs Paris studio. Tatlin used the term Constructivism
to describe these works.

THE NEW DE STILJ 1917- 1931: Theo

van Doesburg and Piet
BAUHAUS: Mondrian formed the Dutch
De Stijl group in 1917.
In the wake of Nazi
Mondrian developed his
power, former Bauhaus
distinctive style of non-
students and teachers
representational grid painting
fled Germany. Many
independently from the
emigrated to the United
Russians. De Stijl established
States. Gropius was made
the strictly horizontal/vertical
head of the swaus in 1930,
format that became known as
was installed as dean of
Neo Plasticism.
architecture at the Armour
Institute in Chicago.
One significant outcome
of the new Bauhaus
in the United States is
the International Style
architecture. The term
International Style was
applied to the American
form of Bauhaus
architecture. The name
came from the book The
International Style by
historian and critic Henry-
Russell Hitchcock and
architect Philip Johnson. L A S Z L O M O H O L Y - N A G Y, P H O T O G R A M 19 2 2

Bauhaus buildings have

flat roofs, smooth façades and cubic shapes. Colors are white, gray, beige
or black. Floor plans are open and furniture is functional. While Bauhaus
architecture had been concerned with the social aspects of design, Americaʼs
International Style became a symbolism of Capitalism.

T H E O V A N D O E S B U R G , C O M P O S T I O N 2 2 19 2 0 - 2 2

4 5
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INSIDE THE ARTISTS
BAU
HAUS
WALTER GROPIUS
Born in Berlin in 1883, began
studying architecture at the age of
20. He is mostly known for creating
the bauhaus, a multi-disciplinary
design school that pushed innovation.
Bauhaus was a merger between
Weimar Art Academy and Weimar
Arts and Crafts. The bauhaus had
great master teaching various
mediums from painting, industrial
design, photography, architecture and
other forms of design.

Though Gropius is known for his

bauhaus involvement, his reputation
actually began to build while working
with Adolf Meyer constructing
buildings. They designed 2 buildings
that made him famous throughout Europe, the Fagus Works in Alfeld and
factory buildings for the Cologne Werkbund exhibition. Gropius left Germany
in 1934 due to Nazi opposition. He later joined the architecture department of
Harvard University. He introduced the bauhaus design concepts and pushed
for standardization and prefabrication. Gropius created innovative designs
that borrowed materials and methods of construction from modern technology. WA LT ER GROPIUSʻ HOUSE SEEN FROM T HE SOU T H W ES T
Using technology as a basis, he transformed building into a science of precise
mathematical calculations. THE BAUHAUS BUILDING SEEN FROM THE SOUTH WEST

WASSILY KANDINSKY
was born in Moscow in 1866.
Kandinsky learned to play piano
and cello at an early age. His
paintings are greatly influenced
by music. While at the University
in Moscow, Kandinsky studied law
and economics. He also spent his
time writing about spirituality. At
age thirty, Kandinsky left Moscow
and went to study life-drawing,
sketching and anatomy in Munich.
Kandinsky is considered to be the
founder of abstract art, his work was
exhibited throughout Europe from
1903 onwards, and often caused
controversy among the public, the art
critics, and his contemporaries.
S M A L L P L E A S U R E S , J U N E 19 13 . O I L C A N V A S , 4 3 1/4 X
Kandinsky viewed his compositions as major statements of his artistic ideas. They 4 7 1/ 8 I N C H E S .
share several characteristics that express this monumentality: the impressively
large format, the conscious, deliberate planning of the composition, and O N W H I T E I I , 19 2 3 O I L O N C A N V A S , 1 0 5 X 9 8 C M
the transcendence of representation by increasingly abstract imagery. Just U P W A R D ( E M P O R ) , O C T O B E R 19 2 9. O I L O N
as symphonies define milestones in the career of a composer, Kandinskyʼs C A RDBOA RD, 70 X 49 C M .
compositions represented the culmination of his artistic vision at a given moment
in his career.

6 7
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INSIDE THE ARTISTS
BAU
HAUS
LÁSZLÓ
MOHOLY-NAGYʼS
Nagy taught the theoretical aspects
of art and communication arts he
believed intuition in the creative
process was indispensable and it
was necessary to combine conscious
analysis with the powers of dynamic
intuition. cvFormulae alone could
never be the sole basis for creation.

Through his view that art could be

harnessed for collective social re-
form he strove to define an objective
science of essential forms, colors,
A I I , 19 2 4 . O I L O N C A N V A S , 4 5 5 / 8 X 5 3 5 / 8 "
and materials, the use of which
would promote a more unified social
environment.

In order to successfully communicate

meaning to a public he believed that art must parallel contemporary reality, 19 3 7 - 3 8 C O L O R P R I N T , A S S E M B L Y ( V I V E X )
and he achieved this by using geometric abstraction. His first painting on clear P RO CE SS 3 4.9 X 26.5 C M .
plastic created a profound interest in the effects of light, which would later be A X L I I , 19 2 7. O I L O N C A N V A S , 3 7 X 2 9 1/ 8 "
evident in his photographic artwork.

In figure A II and AXL II we see how he has created a three dimensional space
using almost translucent shapes that overlap each other.

JOSEF ALBERS
Through his teachings of design
and the behavior of materials Josef
Albers helped students develop an
understanding of “the static and
dynamic properties of materials .
. . through direct experience.”. He
did this by giving his students wire
netting, matchboxes, phonograph
needles, razor blades, and other
unusual materials to create construc-
tions of art.

In his own work he began to

investigate color theory and
composition through mathematical
proportions as a way to achieve
balance and unity in his art. He did S P I X ( 19 6 7 ) S C R E E N P R I N T 2 4 . 5 X 2 4 . 5 P A P E R ,
not profess metaphysical concerns, 19. 5 X 19. 5
Albers believed that “Art is spirit, and only the quality of spirit gives the arts an
important place in … life.”

Through “accidental” effects such as ripples and bubbles inherent in the medium
of stained glass he created sophisticated designs that explored the balance, FRONTAL, SANDBL ASTED FL ASHED GL ASS
and opacity. His artwork often heavily documented as to the proportions W I T H F I R E D B L A C K G L A S S E N A M E L . 13 3 / 16
and mathematical schemes are evident in his later works such as Homage to X 18 3 / 8 ", 19 2 7.
the Square. He was concerned that future generations understand his often
stringent working methods, however he also believed “Any form [of art] is GL A SS A SSE MBL AGE MOUN T ED ON A BR A SS SHEE T,
acceptable if it is true, And if it is true, itʼs ethical and aesthetic.” 5 4 . 6 X 3 9. 4 C M

8 9
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INSIDE THE ARTISTS
BAU
HAUS
PAUL KLEE
Being born into a family of musicians
Kleeʼs work was often gently and
humorous with allusions of dreams mu-
sic and poetry in small scale delicate
paintings, watercolors and drawings.

Influenced by Francisco de Goya his

earlier works combine satirical, gro-
tesque and surreal elements in etch-
ings as well as pen and ink. Klee also
gives further dimensions of meaning
to his work by giving them peculiar
and evocative titles.

After his visit to Tunisia he was so

overwhelmed by color that he wrote:
”Color has taken possession of me; no
R E D A N D W H I T E D O M E S 19 1 4 W A T E R C O L O R
longer do I have to chase after it, I
AND BODY COLOR ON JAPANESE VELLUM
know that it has hold of me forever.
M O U N T E D O N C A R D B O A R D 1 4 . 6 X 13 . 7 C M
That is the significance of this blessed H E A D O F M A N ( G O I N G S E N I L E , 19 2 2 ) 2 2 I N . X 2 8 "
moment. Color and I are one. I am a painter.” This new love for color is evident
in his piece Red and White Dome, a built up composition of colored squares
that have a distinctive radiance. H I G H W A Y A N D B Y W A Y S 19 2 9

“Art does not reproduce the visible, it makes visible,” Klee later believed that
through a wide range of media using inventive techniques complex symbols and
signs he could communicate and create visible messages. He did this through
line and color creating several mosaics and producing other effects.

10 11
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SANDRA BRADLEY

13
HOME
GREG CIRO TORNINCASA

17
 Click in the movie box below to view
BAUHAUS CONCEPTS pop-up

CONCEPTS
BAU From the Bauhaus School came

HAUS the use of strong horizontal

and vertical rules along with
bold primary colors. Geometric
shapes unified or separated
elements rather than being
used as decoration. These
were all typical elements of the
Bauhaus style which played a
major role in the visual commu-
nication of information.

HOME
KIMBERLEE OSMUN

23
Feeling BAUHAUS ask the simple question what do you feel when you see a piece of artwork
or architecture from this period. After studying the Bauhaus movement, I felt it was unlike most other move-
ments. I think it goes a little deeper and is maybe often unrecognized. It does not offer gratification, one
must think about how it makes them feel. Perhaps this is due to the idea that Bauhaus art often serves more
of a function rather than just being a piece of art.

I decided to explore this issue by interviewing my friend Sarah Arthur, not just because she is my friend, but
because she had taken classes in architecture appreciation and was quite familiar with the Bauhaus move-
ment. As I interviewed her I realized this question was more challenging than I had imagined, yet extremely
interesting and fascinating. Please enjoy the images and interview bellow!
After looking at all of these objects and
architecture I finally decided to show
her a painting by Klee, in black and
white, “Struck From The List”. Even
though it was in black and white she
saw blue, red and a little green. She
thought the composition looked like a
poised feminine lady with a hair bun.
This figure looked nurturing pragmatic
caring attached bored. Immediately
it reminded me of a picture I took of
my friend Heather many years ago,
detached cold yet inviting, looking
forward.

The third piece was a table

by Albers. It made her think
of infinity it just kept going.
It made her feel like making
something, she could imag-
ine a workshop with tools.
Next I showed her a
black and white photo
of “Albers Glass”,
this reminded her of
cubism, by Picasso,
work by Frank Loyd
Wright, or even a
Catholic Church.
Gropius Mas- The first picture I showed her was “Al- I remembered that
bers Bowl”, She said it reminded her while in France she
ters looked like a
was moved by the
Miami Nightclub of the 70’s and it looked like an ashtray. Pantheon, which
because of the Her mood was hard, unemotional, and served as a church from
railings, flat walls she implied that it had no mood or time to time. Her mood
and glass. She feeling. She felt that it was more of an was artsy intellectual,
everyday object something rational. sunny, and carefree.
thought it was
clean artistic, inter- The Bauhaus building re-
esting, balanced, minded her of a shoebox
but not. It was
contrasted divided or a train station, it was
not a lot of win- industrious, creative, fo-
dows but open. cused, concentrated.

FEELINGBAUHAUS
HOME
WANG PHAN

27
I
see her on Thursdays at three oʼclock.
Thatʼs the time when lives intersect, like
accidental grid patterns.

Bright blue buses juxtaposed against tall

white buildings. The city is busy. The girl is
like a circle in a room full of squares. I canʼt
help but to stare.

Simple, undecorated, uncomplicated. The

beauty is in her eyes.

I find myself standing still in the middle of the

sidewalk. I feel weightless, ungrounded, - a
sense of freedom. This is how she makes me
feel. The bus comes to a stop accompanied
by thin screeches and heavy rumbles.

Waiting in the bus line, I wonder how the city

looks like from above. As I get onto the bus,
I naturally sit myself parallel to her. The girl
with no name.

Plastic chairs and metal bars. Everything on

the bus is lined up and well-organized. My
eyes naturally wander. Iʼm telling you, she
looks cute.

To get her attention, should I scream, or

should I whisper? The whisper seems to be
effective, through soft spoken words my ideas
are emphasized. “Excuse me, do you know
how I can get to the beach?”

I really donʼt care for the beach, but I donʼt

know what else to ask her. She gives me a
shy half smile before she responds.

She is telling me the directions, but Iʼm too

busy staring at her to listen. All I know is, her
voice sings like music against the background
ambience of the buses and the city noise.

After receiving directions to the beach, I ran

out of things to ask her. I ran out of things to
say, like sitting alone on an empty page look-
ing for a line to follow. Time passes.

The light blinks. The bus stops. The red blink-

ing light - itʼs like looking at myself in the mir-
ror. She walks off the steel platform looking at
me with a shy half smile thatʼs making me run
around in circles.

I look through the back window as the bus

takes off. I see her fading into the distance,
like a moving painting beautifully framed by
the busʼ window trimmings. I canʼt help but to
smile. I cover my face realizing that this girl
has gotten to me.

Next Thursday, I will see her again,

but for now, Iʼm happy being innocently
infatuated.

HOME
history resources
Bauhaus, bauhaus archiv magdalena droste 1919-1933.
2002 Published by the Bauhaus-Archiv fur Gestaltung
Klingelhoferstr. 14, D-10785 Berlin

Gordeeva, Tatyana “The Beginning and The Goals of Bauhaus.”

20 October 2003
<http://www.germanculture.com.ua/library/weekly/aa022101a.htm>

“From the Bauhaus to the 21st Century.” 22 October 2003

<http://web.utk.edu/~art/faculty/kennedy/bauhaus/bauhaus.html>

Flores, G. “Bauhaus.” 23 October 2003

<http://people.ucsc.edu/~gflores/bauhaus/history.html>

“The Bauhaus Graphic Communications New Function.” 23 October 2003

<http://www.snc.edu/art/websyllabi/ar350ass4/cgass4c.html>

Nicholson Bell, Barbara “The Bauhaus School, Weimar, 1919.”

23 October 2003
<http://www.suite101.com/article.cfm/antiques_and_collectibles/23593>

“Bauhaus-Archiv.” 23 October 2003

<http://www.bauhaus.de>

interview resources
Arthur, Sarah. Personal Interview. 22 October 2003.

image resources
4 above: Bauhaus Archiv Magdalena Droste
4 below: Bauhaus Archiv Magdalena Droste
5 above: Bauhaus Archiv Magdalena Droste
5 middle: Bauhaus Archiv Magdalena Droste
5 below: Bauhaus Archiv Magdalena Droste
6 above: Bauhaus Jeannine Fiedler & Peter Feierabend
6 below: Bauhaus Jeannine Fiedler & Peter Feierabend
sandra bradley
7 above: DeStijl Visions of Utopia
7 below: DeStijl Visions of Utopia
8 above: Bauhaus Archiv Magdalena Droste kimberlee osmun
8 below: Bauhaus Archiv Magdalena Droste
9 above left: Bauhaus Archiv Magdalena Droste
9 above right: Bauhaus Archiv Magdalena Droste
9 below left: Guggenheim Collection
greg ciro tornincasa
9 below middle: Guggenheim Collection

wang phan
9 below right: Guggenheim Collection
10 above: Bauhaus Archiv Magdalena Droste
10 below: Bauhaus Archiv Magdalena Droste
11 above left: Bauhaus Archiv Magdalena Droste
11 above middle: Bauhaus Archiv Magdalena Droste
11 above right: Bauhaus Archiv Magdalena Droste
11 below left: Bauhaus Archiv Magdalena Droste
11 below middle: Bauhaus Archiv Magdalena Droste
11 below right: Bauhaus Archiv Magdalena Droste
12: Bauhaus Archiv Magdalena Droste
13 left: Guggenheim Collection

31
13 middle: Guggenheim Collection
13 right: Guggenheim Collection
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