The Women of Bauhaus

While the Bauhaus school is well known, and its original manifesto proclaimed an environment of equality, most of the women who went to the school were ushered into specific courses, rather than given their choice of studies.

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Episode Transcript

Speaker 1 (00:01):
Welcome to steph you missed in history class from works
dot com. Hello, and welcome to the podcast. I'm Holly
Fry and I'm Tracy B. Wilson. So Tracy, today we're
going to talk about the Bow House. I do not

(00:22):
mean the band that made Bella Legos He's dead that wait,
no mistake, I really love me s Peter Murphy, but
the German art and design school of the early nineteen hundreds,
and specifically, we are going to talk about the place
of women there and some of the specific ladies who
were part of the school's history. This has any topic
that has been requested many many times via email and

(00:43):
on social media, so thank you to everyone who asked
for it. UM, I really want to establish some realistic
expectations up front, though this is really an overview. There
has been so much scholarship on the Bow House that
it could be the foundation of an entire podcast series
on its own. There's really no way we can cover
everything in the scope of this episode. I mean, there

(01:04):
were so many UH pieces of art history and architecture
history UH and design and industrial design that have their
roots there that there are so many details around the
bout House that we could talk about, but we really
cannot do it all. So how we're gonna handle this
is we're going to start with a little bit of
the history of the school itself, and then we're gonna

(01:26):
talk a little about how women fit into that picture.
And then we're going to cover the biographies of just
a few of those women. They're far more than that,
so I hope we do not leave out one that
you are particularly partial to or interested in. But at
the end we will also talk about a great resource
to go to if you want to learn more about
these women. Uh so that is a scoop. We're gonna
jump into our discussion of the bau House and it's women.

(01:49):
The Bauhaus School was founded in by architect Walter Adof Gropius,
and the word about house translates to construction house or
building school when the school was a bablished in Vimar, Germany,
just as the Vimar Republic was established post World War One.
The goal was to incorporate arts into the real world
by teaching art and functional design in tandem. As part

(02:11):
of the launch of the school, Gropius wrote the Proclamation
of the bau House, which is a document that promoted
the idea of a world where a sculpture and painting
and architecture are all united as one group of artists,
and the curriculum of the bau House of Course was
built entirely around this ideal. Students of the school all
started in the same course, regardless of where their specific

(02:33):
interests were focused. Basics of what was called the bau
House theory were taught in this course, including everything from
color theory to material studies, and artists including vasili Kandinsky
and Paul Clay usually taught this comprehensive foundation course, which
is called workers in German. Post introduction. Students would then

(02:54):
move into their specialty fields of study, with the groundwork
of that entry course forming the foundation all of their study.
Beyond that point, subjects were offered that were offered included pottery, weaving,
cabinet making, metalwork, and typography. UH. But quickly in the
first few years of the school, it became apparent that
to really be a practical study, in line with Gropius's

(03:17):
desire to integrate art into practical design UH, the ideology
of the school needed to be tweaked slightly. So the
goal of the courses offered then shifted a bit to
giving students the education they needed to take that union
of art and functional design and then mass produce with it.
So the school's slogan, starting in ninety three, became Art

(03:38):
into Industry. Just a couple of years after that refocus
into industrial production, the Bathhouse moved its location to death Out, Germany.
In The new facility was designed by Walter Gropius, and
that building, which is still standing, is sometimes cited as
one of the earliest examples of modern architecture. It's asymmetrical

(04:00):
built using steel frame construction and large sheets of glass,
and the interior layout was designed for the most efficient
use of the space. Was also the year that Bauhouse
first applied for corporate status. That was a move that
intended to make the school itself both a place of
learning and a more structured business entity that could produce

(04:20):
the industrial designs that it's students and faculty created. Just
as the very building students learned in advanced the ideas
of modern modern architecture, the various specialized workshops and courses
often did the same in their fields. The textile workshop,
which we're going to discuss it more length, shortly encouraged
the use of non standard materials and weaving, including metal

(04:43):
and cellophane, which were really groundbreaking at the time but
are now pretty common in fabric production. The cabinet making
workshop got very expensive experimental with furniture, eventually leading to
the development of easily mass produced metal chairs and other
industrial Furnitshing furnishings, the metal working workshop developed modern pieces
such as lighting fixtures and tableware, all developed with a

(05:05):
focus on use of usability and function, and the typography
courses blended art and communication in a way that gave
equal importance to being both graphically pleasing and precise. And
though the influence of the bau House is unarguable, the
school itself really did not last very long. Gropius left
in and another architect, Hans Meyer uh stepped into the

(05:30):
role of director, and Meyer changed the curriculum by cutting
workshops that seemed too formalless to him, and he continued
to advance the idea of design that could be thoughtful
and artful and also mass produced. After only two years,
though Meyer stepped down in replaced by yet another architect,
Ludwig ms vender Roa, who shifted the school's offering to

(05:51):
be much more focused on architecture above all other crafts.
That same year, the school moved to Berlin and was
significantly reduced in Gale due to financial issues. It only
lasted three more years and shut down in nineteen thirty
three as Germany's political climate became progressively more unstable. In
January nineteen thirty three, Hitler had been sworn in his chancellor,

(06:14):
and when the Enabling Act of nineteen thirty three was
passed in March of that year, it signaled the end
of the Wimar Republic as it had existed. This could
literally be a whole other episode on how the lives
of the Bauhouse and the Bimar Republic ran in parallel.
That's that's beyond the scope of our brief overview here.
And after the Bauhaus was dissolved, many of its teachers

(06:37):
moved to the United States, where they continued to share
the school's design ideology with American students, which once again
expanded the footprint of Modernism. In nine six, the Bauhouse,
including its locations at both Weimar and Dessau, was made
a UNESCO World Heritage Site because of the school's far
reaching impact and design, architecture, art, and culture so like

(06:59):
I said, very very basic overview of the school. Again,
we could do many, many parts on bou House, but
we're going to talk now about the women that were there,
because when the bou House first began, it actually had
more women applicants than men. The proclamation of the bout House,
which will sometimes also see referred to as the bou

(07:20):
House Manifesto, in clearly stated that the school would welcome
quote any person of good repute, without regard to age
or sex. And while Walter Gropius openly declared that there
would be a quality of the sexes at the school
and women were certainly admitted, the reality was a great
deal more complex. After taking the same initial course in

(07:41):
bau House theory as the men, the women of the
school were strongly encouraged into exclusively the textile and ceramics workshops.
Gropius is said to have believed that women thought into dimensions,
making them more natural students of textile design, whereas men
could handle three dimensional thinking, and we're encouraged to do

(08:01):
the other available workshops. Of course, ladies were also encouraged
into ceramics, which is definitely a three dimensional medium, but
because the idea that it was an art of surfaces
rather than one of engineering. It's still flit fit into
this frankly bizarre and sexist assertion. It is one of

(08:23):
those things that I'm like, when I first read it,
which is some years ago, and I hadn't thought about
it in a long time since until I was doing
this research, I just said that one would have what, like,
there's no way that theory holds up, Like, even if
you think about, like the many women that have worked
in things like clothing and dressmaking, which is a very

(08:44):
three dimensional thing you have to have a sense of
how like things move in Spain. I'm like, there's no
way you can support that with any sort of evidence,
even women who had experience as apprentices or interns, for example,
at architecture firms. We're going to talk about one specific
example in just a bit. We're shunted into the weaving shop.
One of the probably unexpected outcomes of this corralling of

(09:07):
the women's students into textile work was that the weaving
workshop became very successful. Uh. As you mentioned earlier, there
were some groundbreaking there was some groundbreaking experimentation going on
with fiber work, but this workshop also became commercially successful
producing fabrics and textile art that remains both sought after

(09:27):
and emblematic for the school and its avant garde aesthetic.
We're going to talk about three specific women who were
part of the Bouthhouse, but first we're going to take
a brief break for a word from one of our sponsors.
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(09:48):
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(11:11):
to get ten percent off your first purchase square space
set your website apart. So picking up with our ladies
of the bau House, We're first going to talk about
Gunta Stoltel and she was born in Munich in eight
and her father was a teacher. He encouraged her creativity

(11:32):
and her curiosity, which she exhibited from a very early age,
as many children do. Uh and at the age of
sixteen she began attending the Munich School of Arts and Crafts.
For three years, she studied there, learning about art history, ceramics,
and painting. During this time she was really prolific as
a sketch artist. She created hundreds of landscapes and portraits

(11:53):
and architectural drawings. Because of World War One, there was
a period where Stultzel left her studies and volunteered at
the Red Cross as a nurse that went on from
nineteen seventeen to nineteen eighteen. But even while serving in
this capacity, she never stopped drawing. She sketched throughout her
time as a warners, and when the war came to
an end, she went right back to the School of
Arts and Crafts to continue her studies. In the fall

(12:15):
of nineteen nineteen, she began studying at the Bathhouse, and
in the early summer of nineteen twenty, a new women's class,
which was weaving, was established by the school, and Walter
Gropius asked Gunda Stoltel to head it, which she agreed to,
and as a consequence, Staltel became both a leader and
a champion for the weaving workshop. She always worked to

(12:36):
incorporate new ideas and new techniques into classes. She wanted
to make sure that the students always had proper facilities
to incorporate those new ideas. For example, she set up
the school's first die facilities in nineteen two after she
had taken a course on die techniques. Throughout the years
that she was working and studying at the bath House,
she was also creating, and she was doing so in

(12:57):
ways that sometimes it could be quite lucrative. Her rags
were extremely popular, and one was sold at the Bouhouse
exhibition in three It's said to have inspired the buyer
to build a room specifically for it. Her work during
this time very clearly shows the influence of Clay and
Kandinski with the geometric shapes and bold colors woven into

(13:18):
her designs. And you can actually almost trace the development
of the bow House from art and design collective to
corporate entity by looking at the chronological development of Stolzel's work.
While she started weaving for the most part, pictorial art,
she really did transition over time to more sort of
I'm reluctant to use the word traditional, but things that

(13:40):
you would think about more as fabric designs that were
primarily and importantly reproducible as textile designs. In Stolzel was
made the craft master of the Weaving Workshop. At this point,
she began really strongly guiding the curriculum in the workshop
and established a well organized training system for students. Because

(14:01):
there weren't many technical guidelines for textile education of the
type that was happening at the Bauhouse, she was able
to incorporate a lot of experimentation into the curriculum for
students and teachers alike, and good to Stultel was later
given the title of Young Master in nineteen five, and
with it came the responsibility for the weaving workshop in
its entirety. And it's under her leadership in this role

(14:24):
that the workshop really became the most financially successful branch
of the bau House, with a consistent list of textile
orders that kept the weavers there working pretty much constantly
at full capacity. In nineteen twenty nine, Stultel married Aria Sharone,
and he was Jewish. By marrying a Jewish Man, she
forfeited her German citizenship. The couple had a daughter. The

(14:45):
same year. Political issues that were bubbling up as the
Nazi Party gained more and more power made Stoltzel and
Sharone increasingly targeted for harassment. In nineteen thirty one, Stultel
was forced to resign her position at Bauhaus and she
moved Switzerland. Her husband went back to his home country,
and the couple divorced five years later. After bau how

(15:07):
Stoltzel's career as a fiber artist was fairly successful. She
didn't make a ton of money, but she continued to work.
She initially co founded a fabric company with two other
Bauhau's alums, Gertrude pries Werch and Einrich Otto Herlman through
although their company struggled even though it's upholstery and curtain
textiles were really highly regarded. Stolso went on to contribute

(15:29):
fabrics to theatrical design. She exhibited her work as a
member of the Association of Swiss Women Painters, Sculptors and Craftswomen,
and she eventually set up her own workshop, the Flora
hand Weaving Mill. She remarried in ninety two to journalist
Willie Stadler, and at that point she became a Swiss citizen.
Prior to that, even though she had been living in

(15:49):
Switzerland for a while, her she was sort of in
a precarious position, and the following year nine three, she
had a daughter with Stadler. Her work from her bout
House years were often featured in exhibitions about the school,
and in nineteen seventy six the bout House Archive staged
a solo exhibition of her work. Genta Stolsel died in

(16:10):
Zurich in nineteen eighty three, and next up, we're going
to talk about another woman from the bout House whose
story takes a pretty sad turn. She interweaves a little
bit with good Stoltzel, so we're talking about Audi Burger.
And she was born in the area of the Austro
Hungarian Empire that is now modern day Croatia. In eighteen
she was considered a Yugoslavian citizen and she attended the

(16:32):
Collegiate School for Girls in Vienna before moving on to
the Royal Academy of Arts and Artistic Crafts in Zagreb
in n She finished her studies in Zagreb in nineteen
six and moved on to the Bouhouse in nineteen seven.
And after finishing the workours that's the foundation course, she
moved on to the textile workshop, where she met Good Stoltzel.

(16:54):
When Stoltel left bout House, she recommended Burger as her successor,
and Burger did take over the management of the textile program,
but she was never officially named as the leader of
the department, and when Ludwig Me's vander Roy appointed a
new head to the workshop in ninety two, it was
not Burger but Lily Reich who got the position. Burger
stayed on for a short while as Reich's assistant, and Burger,

(17:18):
who really is considered one of the most gifted artists
who have ever been part of the weaving workshop at Bouhouse,
took on a mentor role to other students and she
developed her own curriculum around textile work. When she left
the Bauhouse later in nineteen thirty two, Burger took her
extensive knowledge and skill to Berlin, where she opened her
own workshop Attelier for textile. Burger was skilled at creating

(17:43):
textured fabrics that used color to accentuate ships in the weave.
When she had an innovative approach to textile production, including
the incorporation of plastics and synthetic dies, that helped her
create successful business partnerships with several textile companies, and her
business was doing quite well and too nineteen thirty six,
but because her family was Jewish, Burger was banned at

(18:06):
that point from working in Germany. She had to shut
her her company and she began trying to get a
visa to travel to the US to join several of
her friends and mentors from the Bouhouse. She had, in
fact been offered a job in Chicago by Bauhouse professor
Laslow Moholy Nigi, who was starting a new Bauhouse in
the United States. Burger waited on her visa and in

(18:27):
the meantime traveled to London several times to seek work,
but she didn't do very well there. She didn't have
any connections to help her, and she didn't speak English,
so to most Londoners she was considered German. In nineteen
thirty eight, she traveled back to Yugoslavia to visit her mother,
who was sick, and she wasn't able to leave. She
and her family were sent to the Auschwitz concentration camp

(18:47):
in nineteen forty four, where she died. So our next
woman from Bouhouse that we're going to talk about as Gertrude,
aren't and she was born Gertrude Hanschk. I'm probably pronouncing
that incorrectly. Bear with me in Upper Celestia in nineteen
o three, and since she's best known by her married name,
that's actually how we're going to refer to her, even
at times prior to her marriage, just f y I. So,

(19:08):
unlike many of the other women who made their way
into the Bouhouse School, Aren't was intent on becoming an architect.
She apprenticed with the Carl Minehart architecture firm and Airfort
Germany from nineteen nineteen to nineteen two, so she was
at that architecture firm for three years, and during that
time she also became interested in photography, and that was

(19:28):
because her employers suggested that she should document the architecture
of the city with her camera. During her time at
the firm, she also studied other branches of design, including typography, drawing,
and art history. After she saw the nineteen three Bowhouse
exhibition that is the very one where gun To Stoltzel's
rug work was so successful, Aren't, who had a student

(19:50):
grant at this point, decided to use it to attend
the School of bou House to study architecture. But remember
this was a time prior to the bou House establishing
architecture as a formal course of study on its own.
This meant that Aren't was you guessed it ushered towards
the weaving workshop. After she completed the foundation course despite
her architectural background, Aren't dutifully worked in textiles, culminating an

(20:14):
apprenticeship project with the Glaucow Weaverskilled and then she graduated,
married fellow student Alfred Aren't and never worked in textiles again. Yeah,
I love that. She was apparently quite good, she did
great in her coursework, but was like, that's a wrap instead. Instead,
the newlyweds moved to eastern Germany, and while they were there,

(20:35):
Alfred worked in an architecture firm and Gertrude worked there
as a photographer. She documented buildings for that same firm,
just as she had done as an apprentice prior to
her time at the Bowhouse. But after only two years,
the Arn'ts moved back to Dessau and back to Bowhouse
that was, and they did that because Alfred had been
appointed as a teacher at the school. They didn't stay

(20:56):
long though. In nineteen thirty the couple had their first child,
a son, and the following year they had a daughter.
Throughout this time, Gertrude was still taking pictures, including a
series of self portraits, forty three of them entitled mask Portraits.
In nineteen thirty two, Gertrude, Alfred and their two children
moved back to East Germany. They lived in prope Silla

(21:17):
until eight and then they moved to Darmstadt. Well shouldn't
continue her photography pursuits for long after that point. Gertrude
lived there for the rest of her life, which was
quite long. She died in two thousand at the age
of ninety seven, and in January, the Bouhouse Archive mounted
an exhibition of Gertrude's work that showcased her textile work

(21:38):
as a student right alongside her extensive photography work. While
these are only three of the women who came from
the bouth House School, there were so so many others,
and unfortunately most of them go largely unknown, although that
is starting to change. And if you want to learn more,
and I mean loads more, with a lot more specifics
and details about the women of Bouhouse, there is a

(22:00):
wonderful monograph titled bow House Women Art Handicraft Design that
was published to coincide with a Museum of Modern Art
exhibit in and that book focuses on twenty of the
female artists who are part of the school's important, though
brief history, And it's a very high likelihood that there
will be an episode or two in the future about
specific artists from bau House that we have not mentioned

(22:21):
here today, so stay tuned in. The bou House Archive
in Berlin hosted a series of exhibitions under the banner
of Female bou House in an effort to try and
finally bring some recognition to the women who studied at
the school and continued to work in art and design,
which is awesome. I was talking to Holly before we
started recording about how UM and our sort of division

(22:43):
of labor for the more administrative tasks for the podcast.
I'm usually the person that gets artwork, and I could
not find any picture of anything by any of the
women we were talking about. So Holly now is going
to employ some some secret connections to try to help
us out with that. That's uh, definitely atypical in terms

(23:04):
of when we talk about UM artists and and designers
and and dancers and people who had some kind of
visual career that was documented in some way. We usually
don't have a big problem finding pictures of their work,
but that was not the case when I was looking
for pictures today. Yeah, you can find some if you
go looking online, but in terms of pictures that are

(23:25):
usable like from um places like Getty or other photography
sites that provide like journalism photos, you really don't find many.
And it's fascinating because I mean truly, particularly in textile arts,
a lot of the work these women did is still
really vital and being used whether people realize it or

(23:47):
not in the textile industry today. Uh So it is
sort of fascinating. You can hear people talk about some
of the men, particularly the architects and painters like kandin
Ski and Clay who were part of about House, It,
you very rarely hear the women referenced, so uh important, fascinating.
They all have really interesting stories of their own, so

(24:08):
hopefully we can continue to shed a little more light
on that. Do you also have some listener mail. I do,
and it combines two topics that we have talked about
which sound gross together, but uh, you know it works.
They're separated out. We're gonna talk about knitting and pizza.
And this is from our listener Clara, and she says, Hi,
Holley and Tracy, I am a huge fan of the podcast,

(24:28):
YouTube and previous hosts have kept my brain from melting
as I build cad models for eight hours a day.
I'm in the middle of listening to your live show
on pizza and I had to tell you, as someone
who was born and grew up in Boulder, Colorado, I
did not realize until you mentioned it that dipping the
crust in honey as a dessert was a local thing.
When I was little, I used to obsessively eat off
all of the little bits that still had sauce on them,

(24:51):
before putting far too much honey on my crest with
through the heck let a six year old wheeled the
honey bottle. In recent years, I've become less fastidious and
find it a bit of tomato saw zing on the
honeycrest is quite tasty. Now living in Rhode Island, I've
enjoyed a wide array of new pizza styles, but I
missed the whole wheat crust. I also wanted to thank
you for the episode on knitting a few weeks back.

(25:12):
Knitting is an obsession I have in common with my
partner many people in my family and also many people
in her family that keeps us better in touch, and
it's fun to see how we each tackle knitting puzzles differently.
I'd like to speak a little bit about the online
knitting community, as I feel that it will one day
be recognized as historically significant. Maybe you already know this stuff,
but here it goes. Gone are the days days of

(25:33):
guilds and trade secrets. Instead, online knitting communities, specifically Ravelry,
have developed a collaborative and mutually beneficial network between hobbyists
and artisans. Each project page encourages referencing the pattern yarns
used to create each knitted piece, which is useful for
future knitters, while also acting as free earnest advertising for
the reference pattern designer yarn producer. If Foster's respect for

(25:56):
the inherently collaborative nature of the craft while also respecting
the signific against of individual creativity and labor. We're all
knitting on the shoulders of warmly dressed giants. Other artists
networks hobbyist and professional could learn a lot from the
knitting communities of the world. Of the online communities, I
rely on in my practice as a designer, the knitting
community is the most sophisticated and accessible. Ten years from now,

(26:18):
app and web designers will hold up Ravelry as their inspiration.
Perhaps they already are now. She has also learned how
to now bend and to increase her knitting speed by
studying historical fibercraft blogs. She's currently learning a medieval flak
spinning technique and making her own distaff. Uh. There's She
mentions also that there's just a ton of generously free

(26:39):
info for people, like videos online for people that learn visually,
and it's great. Uh, thank you so much, Clara. I
think that's an interesting thing to point out. I used
to work for an online fabric company and ravelry was
an area that we kind of worked in and had
feelers in. Uh. And it's true, It's not one because
I'm not an avid knitter. I wasn't super involved that

(27:00):
part of it, but I was always kind of impressed
when we would have meetings and talk about how ravelry
was going, like how much sort of open sharing and not.
If anybody has ever been part of a creative community online,
you know that sometimes things can get a little tense,
Rivalries can develop people well too. I mean, it happens

(27:21):
in any community online. I don't want to just say
that it's creative communities, but those are the ones that
I've been the most exposed to. But that thus seems
to be less the case with ravelry in my limited experience.
I'm sure people have um examples where that would prove otherwise,
but it is very interesting. I think one of the
interesting things about sort of the burst of the Internet,

(27:42):
since I do remember a time before everyone was online,
is that it has created this sort of strange, wonderful
world where people doing very old world crafts and hobbies
can actually come together in a new way and share information.
We got several notes slash suggestions that we start a
stuff You Missed in History class ravelry group after our

(28:04):
episode on knitting UH, and I think I would like
to say, we have no objections to the existence of
a stuff you miss the NaSTA history class like fan group,
but I don't think either you or I has the
the number one current yarn craft enthusiasm or the time

(28:26):
to head that up. But you know, if we we
would have no objections whatsoever to folks collectively forming their
own UH fan group, I would be delighted to see that.
I would literally be useless. I would just be like neat,
like I wouldn't have anything really of value to all
I would. I would intend to offer something and never
get to it. Yeah, unrelated to any of that. I

(28:51):
was in Iceland and there was a yarn aisle that
was literally it was one whole side of the aisle
at a twenty four hour grocery store. I love it,
and I had a moment where I regretted not buying
myself to some yarn to then knit something with when
I got home and say, this is the thing I
knitted with the yarn that came from a twenty four

(29:12):
hour planned a grocery store. But I know, realistically, what
really would have happened is that yarn would have come
home and then sat in the yarn drawer. Yeah, in
a plastic bag somewhere where you discover it in another
eight years and go, oh, man, I forgot to do
anything with this ye that never happens to me. I
don't know what you're talking about. I didn't give you

(29:34):
a literal like giant tote of fabric when I moved
to Boston. And that's yes, But some of that's actually
gotten used to say. Okay, if you would like to
write to us and share your stories about knitting or
pizza or anything you like, you can do so at
History Podcast at house stuffworks dot com. We're also at
Facebook dot com slash mist in history, on Twitter at

(29:56):
mist in History, at pinterest dot com, slash mist in
History at mist in history dot tumbler dot com, and
on Instagram at mist in history. Uh. You can visit
our parents site, which is how stuff Works, where you
can search for almost anything your heart desires and you're
going to turn up some interesting articles. You can visit
us online at mist in history dot com, where we
have an archive of every episode ever of all time,

(30:17):
as well as show notes for any of the episodes
that feature Tracy and me. And we encourage you to
kind of visit us at house to works dot com
and missed in history dot com for more on this
and thousands of other topics. Because it has to works
dot