Bauhaus In Weimar Research Articles

Bortnyik und die „Műhely“ •

Bortnyik and the “Workshop”. The graphic design work of Sándor Bortnyik (1893–1976) and the “Hungarian Bauhaus”. In the Hungarian and international art history literature, Sándor Bortnyik is primarily known as an avantgarde artist attached to the circle of the MA (Today/Hungarian Art) periodical established by Lajos Kassák. Less well known is his role in the emergence of modernism in Hungary after 1925. From the very start, his painting and printmaking developed in parallel with and in interaction with his graphic design work. Having spent time in the milieu of the Bauhaus in Weimar between 1922 and 1924, upon his return to Hungary he continued to work not only in painting and printmaking, but also in book art and advertising, as well as photography, toy and furniture design, theatre work, and animation. The transcendence of the boundaries between genres, and even between branches of the arts, and the mutual influence between traditional art problems and processes and new media, are among the characteristic and still influential aspects of the modern culture of objects and visuality that were brought about by the twentieth-century avantgarde movements, and which continued in their wake. The work produced by Bortnyik, who believed that art played a role in shaping society, evolved in this spirit. His private graphic design school, the “Workshop” (in Hungarian: Műhely), was the representative in Hungarian visual culture of the Bauhaus concept of practice-based art training and functionalism, which fed off the ideas of Constructivism. The study provides a brief overview of the later development of his career, and his turn away from the genre of graphic design towards the direct communication of social, and later ideological content in painting and in printmaking.

Lina Bo Bardi’s School of Craft and Industrial Art and the Bauhaus legacy

In the article-manifesto ‘Industrial Art’, the Italian-born Brazilian architect Lina Bo Bardi published her idea for a Museum of Craft and Industrial Art that should be carried together with a School of Industrial Art, envisaging the emergence of a Brazilian industry of crafts from popular roots. The architect conceived this art and industrial design school in a complex process of reception and critique of the Bauhaus myth. However, in contrast to the industrial-based conception of the Bauhaus, the Museum-School was conceived with the aims of agency, tying its premises to local needs and popular culture. These questions were present in the founding manifesto of the Bauhaus in Weimar, when Walter Gropius called on architects, sculptors, and painters to return to craftsmanship and remove the arrogant barrier that separated the work of the artist from that of the craftsperson. The paper analyses how Lina Bo Bardi's conception of an industrial design school in Brazil sought to overcome the polarisations between the fine arts and craft trades, reversing the prominence of an erudite culture that have subjugated the local and popular production. These revelations are further linked to questions of the role of local and popular production in relation to the foundational concepts of the Bauhaus School and the grassroots movements for social-political and cultural emancipation in the Brazilian Northeast region.

COMMUNICATING SOURCE SEPARATION OF URINE

One of the main issues regarding the implementation of source-separation-based sanitation systems is user acceptance, which is related directly to the state of knowledge of citizens. A communication platform for the exhibition and interactive information on the topic of resource-oriented sanitation (ROS) was developed as part of the P-BANK transdisciplinary project. The P-BANK platform is based on a toilet in the public space. The communication concept focusses on the actual use of the toilets and the surrounding nutrient cycle. The central object of the communication at the P-BANK, as its name suggests, is the macronutrient phosphorus. This simplification creates a symbolic effect which is supported by the ambiguity of the sound of the chemical symbol “P” for phosphorus in connection with urinating (to pee). Furthermore, this reduction aims at shortening the messages and simplifying the information transfer. In the first project phase, the transportable system was field-tested and evaluated in the context of the 100th anniversary of the Bauhaus in Weimar. After positive reviews and experiences concerning the performance of the technical facilities and the success of the communication concept, the P-BANK will be tested and evaluated in further awareness-raising campaigns.

“Vision in motion”: László Moholy-Nagy and the Genesis of the Visual Book

This essay aims to analyze the ways in which László Moholy-Nagy’s concepts of “new typography” and “typophoto” were essential to the creation of a new typology of publications: visual books, which have a strong image component, resulting from the popularization of photography and cinema. New typography was defined in 1923 by László Moholy-Nagy in a short text for the catalog of the Bauhaus exhibition Staatliches Bauhaus in Weimar 1919–1923. New typography resulted from a new graphical orientation by Bauhaus, influenced by the ideology of several avant-garde movements, such as De Stijl and Russian Constructivism, that celebrated simplification, geometrization and the advantages of modern technology to construct a visual language that could communicate clearly and in a universal manner. In Moholy-Nagy’s text, new typography called for an analysis of the relation between form and content through the collapsing of the “classic model” (the “old typography”) and the objective use of photography. In 1925, Moholy-Nagy introduced the notion of typophoto in Painting, Photography, Film to realize the “bioscopic book” of El Lissitzky, which is more visual than textual. In publications like the exhibition catalog Staatliches Bauhaus in Weimar 1919–1923 or the Bauhausbücher series, Moholy-Nagy puts both principles into practice, converting the book into a space of visual exploration, endowed with a cinematic dimension that comes close to his notion of “vision in motion”. Through the use of a qualitative research methodology, and based on a critical review of literature and the direct observation of case studies, this essay aims to show how Moholy-Nagy’s multidisciplinary legacy contributed to a paradigm shift in book design.

Cleanliness, Clarity – and Craft: Material Politics in German Design, 1919–1939

This essay juxtaposes modern German design with cultural politics from 1919 to 1939, demonstrating the interlocking relationship of craft and industry during this pivotal period. Rejecting conventionally opposing categories of “hand” and “machine,” it reveals instead how material properties and technical processes became charged with political meaning. While the Nazis exploited modern handcraft (like the early, earthy ceramics from the Weimar Bauhaus) in service of their populist nationalism, they also deployed “clean,” progressive, industrial design (like Bauhaus-trained Wilhelm Wagenfeld’s sleek, transparent glassware) as visual and material propaganda, creating the illusion of a modern regime deeply invested in providing German citizens with cutting-edge conveniences in the latest style. Why did the Nazis appropriate an aesthetic rhetoric of transparency for their political agenda, which was so dependent on secrecy, hypocrisy, and opacity? The pages that follow explore how and why modern German design – and transparent glass objects in particular – slipped so easily into enemy hands.

The House of the White Man: A Mathematical Description

Johannes Itten, along with Walter Gropius and others, was one of the most important founders of the Bauhaus in Weimar, and a teacher at the same time. Even if Itten was not a mathematician, he had a great interest in different geometric forms, and revealed a great mathematical intuition. Itten realized “by hand” the important Fire Tower, applying translations, reductions and rotations of cubes and of portions of cone. On the occasion of the Kunstfest Weimar 2019, the organizers of the events, which were specifically dedicated to Itten, invited us to describe in mathematical language the lithograph entitled Das Haus des Weissen Mannes (1921), in which the cube is again the “protagonist” of mathematical transformations.

The Other Legacy of Vienna 1900: The Ars Combinatoria of Friedl Dicker-Brandeis

AbstractThis article positions multidisciplinary artist Friedl Dicker-Brandeis at the center of a web that spans Vienna 1900, the Weimar Bauhaus, and interwar Vienna. Using a network metaphor to read her work, she is understood here as specialist of the ars combinatoria, in which she recombines genre and media in unexpected ways. She translates the language of photograms into painting, ecclesiastical subject matter into a machine aesthetic, adds found objects to abstract paintings, and paints allegories and scenes of distortion in the idiom of New Objectivity, all the while designing stage sets, costumes, modular furniture, toys, and interiors. While she has been the subject of renewed attention, particularly in the design world, much of her fine art has yet to be assessed. She used the idioms of twentieth-century art movements in unusual contexts, some of these very brave: in interwar Vienna, where she created Dadaistic posters to warn of fascism, she was imprisoned and interrogated. Always politically engaged, her interdisciplinary and multimedia approach to art bridged the conceptual divide between the utopian and critical responses to war during the interwar years. Such engagement with both political strains of twentieth-century modernism is rare. After integrating the interdisciplinary lessons of Vienna and the Weimar Bauhaus into her life's work, she shared these lessons with children at Terezín.

The Dance of the Future: Wassily Kandinsky's Vision, 1908–1928

ABSTRACTOne can best glean painter Wassily Kandinsky's contribution to ideas about dance by looking at the totality of his writings. Kandinsky conceptualized dance as part of his theories for a new abstract art in his major book Concerning the Spiritual in Art. I consider his 1912 statement on the dance of the future as a modernist statement in its time. Kandinsky's idea for a new form of theater, Bühnenkomposition, incorporated dance, as his script for The Yellow Sound demonstrates. His later writings in Moscow and at the Bauhaus in Weimar and Dessau reveal his concern for what the modern dance might achieve. In 1928, Kandinsky finally realized his ambition to stage a new form of synthetic theater in a production of Mussorgsky's Pictures at an Exhibition.

Saint John’s Abbey Church: Marcel Breuer and the Creation of a Modern Sacred Space by Victoria M. Young

Reviewed by: Saint John’s Abbey Church: Marcel Breuer and the Creation of a Modern Sacred Space by Victoria M. Young Fr. Harry Hagan, osb Victoria M. Young. Saint John’s Abbey Church: Marcel Breuer and the Creation of a Modern Sacred Space. Minneapolis: University of Minnesota Press, 2014. 240 pp. $34.95. In the early 1950s, St. John’s Abbey was facing an overwhelming need for more space. Quickly the community saw that its homemade solutions were inadequate to meet the extraordinary vision that had been growing among them for some time. Dr. Victoria Young deftly sets this story into a larger context and then creates a sense of the people who set out to expand and realize this vision by building a world-class liturgical space that would serve the prayer of St. John’s and become a witness to the Catholic Church in the United States and beyond. Young opens with the consecration of the church in 1961—the year before the Second Vatican Council began. In various ways, the book makes it clear that the Catholic liturgical reform codified by that council did not suddenly appear but had been developing for some time. The first chapter, “Bricks and Brothers,” sets St. John’s into its larger Benedictine context and then into its midwestern context. Young nicely summarizes the modern liturgical movement which gathered momentum with Pius X calling for the faithful to take an active role in the liturgy [End Page 149] (19). She shows how Benedictines both in Europe and in the United States played a central role in this movement that sought the full, active participation of all in the liturgy. St. John’s itself served as a leader, especially through the work of Virgil Michel, osb (1890–1938) and Godfrey Deikman, osb (1908–2002). The second chapter, called “The Twelve Apostles,” opens with Abbot Baldwin and the monks proposing a competition for a hundred year master plan which would include a new abbey church. The document states: “We feel that the modern architect with his orientation toward functionalism and honest use of materials is uniquely qualified to produce a Catholic work” (32). Young notes that “function had become the lynchpin of a new architectural philosophy with architect Walter Gropius’s founding in 1919 of the Bauhaus in Weimar, Germany” (32, 72). Yes, but Louis Sullivan, the great Chicago architect (1856–1924), famously formulated this “linchpin” as “form follows function.” One could even argue that it reflects two midwestern trademarks: practicality and simplicity. Midwesterners, though their love for the tried and the true may cloud the issue, have a genuine affinity for the elegant simplicity of practicality realized by modern architecture. No one should be surprised that with the leadership of Cummins, Inc.—a maker of diesel engines—Columbus, Indiana, has become a museum of modern architecture. Abbot Baldwin and the building committee invited twelve architects for interviews. None of the five Europeans could come; still Young surveys their work to give a sense of Europe’s vitality. Of the seven American based architects, five came for visits. Marcel Breuer, Walter Gropius, and Richard Neutra had roots in the German-speaking world; Joseph Murphy and Barry Byrne were based in the Midwest. Young gives particular attention to Byrne, a prominent architect of the Prairie School deeply involved in the Catholic liturgical movement; he had built St. Columba Church (1949) in Minneapolis, Minnesota, and was designing a new church for St. Benedict’s Abbey, Atchison, Kansas (1957). Although there is no real narrative suspense, Young provides an interesting report of each visit along with what impressed or concerned the committee. In the end, she shows how they came to see Breuer as the best candidate. While their reasons were many, Young, like Isabelle Hymnen before her, underlines Breuer’s willingness to listen and collaborate with the monastic community (63). Also he brought an international dimension to this midwestern project. “Building the Spiritual Axis,” the third chapter, tells the story of the church’s design, development, and execution. It reveals how Breuer with [End Page 150] the monastic community created a sacred path that begins with the justly famous bell banner and then moves through the...

바우하우스 창조성-예술 교육의 낭만적 정신성에 관한 연구 - 바이마르 바우하우스에서 나타난 오리엔탈리즘, 보편주의, 프뢰벨주의의 공통된 의미를 중심으로 -

This study is to focus on an innate creative 'spirituality' of Weimar Bauhaus' pedagogical thoughts and their backgrounds. In particular, this notes three elements of Universal mysticism, Orientalism in early Bauhaus including Expressionism, and Froebelian Education as the more practical among the romantic legacies as a source of modernism. Arguably, through these researches, just as the expressionists represent the crystallization of glass as the spirit, the important that should be noticed is explained as the fact that a panentheistic Idea of matter and spirit as a whole had been spreading to be recognized consciously or unconsciously; in other words, this awakening as dualistic monism might be one of the greatest peculiarities of modernity, and, as the fact that the universal thought and principle of 'panentheism' emphasizing a 'divine' artistic volition which is immanent in the individual is implanted first of all fundamentally by Froebelian educational influences.

Review: Das Bauhaus kommt aus Weimar by Ute Ackermann, Ulrike Bestgen, editors; Modell Bauhaus by Annemarie Jaeggi, Wolfgang Thöner, editors; Bauhaus 1919–1933: Workshops for Modernity by Barry Bergdoll, Leah Dickerman, editors

Ute Ackermann and Ulrike Bestgen , editors, Das Bauhaus kommt aus Weimar . Weimar: Klassik Stiftung and Deutscher Kunstverlag Berlin Munchen, 2009, 380 pp., 343 color and 167 b/w illus. €35 (cloth), ISBN 9783422068834 Annemarie Jaeggi and Wolfgang Thoner , editors, Modell Bauhaus . Ostfildern: Hatje Cantz, 2009, 376 pp., 315 color and numerous b/w illus. €39.80 (cloth), ISBN 9783775724142(German), ISBN 9783775724159 (English) Barry Bergdoll and Leah Dickerman , editors, Bauhaus 1919–1933: Workshops for Modernity . New York: Museum of Modern Art, 2009, 328 pp., 475 mostly color illus. $75, ISBN 9780870707582 In 2009 the Klassik Stiftung Weimar, the Berlin Bauhaus-Archiv, and New York's Museum of Modern Art organized three major Bauhaus exhibits. The year marked the ninetieth anniversary of the Bauhaus's founding in Weimar as well as the twentieth anniversary of the Berlin Wall's dismantling. German reunification enabled hitherto impossible collaborations between scholars and museums in former East and West Germany, yielding exhibitions of unprecedented breadth and scale. These political and institutional developments, and also shifting conceptions of modernism, fueled the 2009 Bauhaus exhibitions and their accompanying catalogs. New scholarship emphasizing inter-artistic dialogue and ideological ambivalence has challenged existing narratives of modernism that equated artistic progress with medium specificity and/or with leftist political agitation. Political and intellectual developments over the last twenty years made a comprehensive reevaluation of the Bauhaus both desirable and necessary. Three very different catalogs accompanied the 2009 Bauhaus exhibits. The Klassik Stiftung, Bauhaus-Archiv, and Museum of Modern Art collaborated in that they coordinated their events and contributed objects to each exhibition. However, each exhibit and catalog was a discrete scholarly project motivated by the specific histories and politics of the host institution. Exhibitions and catalogs appeared in chronological succession over the course of 2009, thereby reenacting the Bauhaus's chronological, geographic, and artistic evolution. The Klassik Stiftung's exhibit and catalog appeared first, focusing on the preliminary phase of the Bauhaus in Weimar beginning in 1919. Located in the nation's capital, the Berlin exhibit gave equal weight to the school's three regional locations (Weimar, Dessau, Berlin), and dwelt above all on questions of national importance. The Museum of Modern Art's exhibit and catalog appropriately closed the sequence, since so many Bauhaus teachers and students fled to America after 1933, when National Socialists effectively forced the school's closure. The Museum of Modern Art's catalog explores the Bauhaus's relationship to modernist …

Expressing the Modern: Barry Byrne in 1920s Europe

The 1923 European trip undertaken by Francis Barry Byrne and his collaborator, the sculptor Alfonso Iannelli, is the subject of Expressing the Modern: Barry Byrne in 1920s Europe. As vividly recorded in the letters written by Byrne to his future wife, he and Iannelli visited the Weimar Bauhaus and met with Ludwig Mies van der Rohe, Erich Mendelsohn, J. J. P. Oud, T. H. Wijdeveld, and other leading modernists. Byrne, who trained in Frank Lloyd Wright's first studio, was especially drawn to the work of the expressionists, and Vincent L. Michael associates Byrne's distinctive architecture with that strain of modernism and with the liturgical reform movement that he helped to promote within the Catholic church, his most significant patron. In 1928 Byrne became the only Prairie School architect to build in Europe with the commission for Christ the King church in Cork, Ireland, and he continued to design modern churches into the 1960s.

Review: Bauhaus 1919–1933: Workshops for Modernity

Review Article| September 01 2010 Review: Bauhaus 1919–1933: Workshops for Modernity Bauhaus 1919–1933: Workshops for Modernity; The Museum of Modern Art, New York; 8 November 2009–25 January 2010 Barbara Miller Lane Barbara Miller Lane Bryn Mawr College Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2010) 69 (3): 430–434. https://doi.org/10.1525/jsah.2010.69.3.430 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Barbara Miller Lane; Review: Bauhaus 1919–1933: Workshops for Modernity. Journal of the Society of Architectural Historians 1 September 2010; 69 (3): 430–434. doi: https://doi.org/10.1525/jsah.2010.69.3.430 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search Twenty-some Bauhaus exhibitions took place last year: in France, Italy, Poland, Israel, Germany, and the United States. Germany housed the largest number; there, 2009 was officially styled "the Bauhaus year," and German governments and Bauhaus-related museums and foundations subsidized celebrations of the ninetieth anniversary of the founding of the school. Some of these shows focused on individual teachers or students: the Kunsthaus in Apolda on Lyonel Feininger and László Moholy-Nagy, the Städtische Museum in Jena on Vasily Kandinsky, the Schlossmuseum in Gotha on Marianne Brandt and Wolfgang Tümpel. Many celebrations took place in Weimar, the birthplace of the school; Weimar's Neue Museum staged a commemoration of Bauhaus designers who participated in resistance to Hitler's government after 1933.1 The Erfurt Kunsthalle emphasized controversies over the Weimar Bauhaus, while the Stiftung Bauhaus Dessau mounted an ambitious exposition entitled Bauhaus City, with tours of the many recently restored Bauhaus buildings in... You do not currently have access to this content.

Umbo's aesthetic

Umbo, one of the most stylistically influential photographers in Europe during the 1920s, followed a singular path that went beyond New Objectivity and Constructivism. In his photography he merged the stylistic elements of the ‘New Vision’ with the expressive aesthetic of Johannes Itten, his teacher at the Weimar Bauhaus. Unlike Albert Renger-Patzsch and László Moholy-Nagy, Umbo adhered to a romantic, poetic understanding of art. He took from Itten the idea that artistic perception of the world exists not in seeing alone but in three ‘movements’: seeing, feeling and recognising. Umbo therefore acknowledged in his work above all emotional need, a subject banned by ‘New Photography’ on the grounds of inconsistency with scientific accuracy and objectivity. In contrast to much ‘New Vision’ photography, optical means of expression do not become independent in Umbo's images, but serve in the formation of ideas, feelings or daydreams.

Symbol formation

Symbol formation is a term used to unify the view on the interdependencies in the research of the Hamburg University before 1933: the Philosophical Institute (William Stern, Ernst Cassirer), the Psychological Institute (Stern) with its laboratory (Heinz Werner) in cooperation with the later joining Umwelt Institut (Jakob von Uexküll). The term, definitely used by Cassirer and Werner, is associated with the personalistic approach: “Keine Gestalt ohne Gestalter” (Stern), but also covers related terms like “melody of motion” (Uexküll), and “relational content” (Cassirer), discussing the term “empirical scheme” (Kant). All this scientific interest addressed personal forces to structure thresholds in equivalent stimuli. This view on intermodal formation allowed research in common aspects in the environments of animals, of children and adults to meet there the symbol formation of artists (Weimar Bauhaus) and poets like R. M. Rilke, a friend of Uexküll.

Anni Albers: selected writings on design

Anni Albers (1899 - 1994) was one of most influential textile designers of 20th century. Born in Berlin, in 1922 she became a student at Bauhaus in Weimar, where she met her husband, Josef Albers. From 1933 to 1949 Albers taught at Black Mountain College. The fifteen essays gathered here illustrate Anni Albers's concept of design as pursuit of wholeness -- the coalition of form answering practical needs and form answering aesthetic needs. This beautifully illustrated book addresses artistic and practical concerns of modern design and considers ever-changing role of designer. Albers's work is in private collections and in those of leading museums both here and abroad. Among them are Busch-Reisinger Museum at Harvard University, Baltimore Museum of Art, Museum Neue Sammlung in Munich, Bauhaus Archiv in Berlin, and Museum of Modern Art, Metropolitan Museum of Art, and Cooper-Hewitt Museum in New York. Her previous books include On Weaving (1965) and On Designing (1961), both published by Wesleyan

Weimar Germany: The Republic of the Reasonable

Wilhelmine Germany on the eve of the first World War the founding of the Weimar state constitution and political spectrum Prussia - bulwark of the Republic Bavaria - reluctant republicans the Prussian police experiment the feme and the Weimar judiciary the Weimar Bauhaus did the Weimar Republic have a golden age? the German economy and the Weimar Republic the women's movement the situation of the Jews national socialism within the Republic.

Eberhard Zeidler: in search of human space

Eberhard Zeidler's innovative ideas have had worldwide influence, particularly on the building of hospitals, shopping, cultural and exhibition centres and multi-purpose buildings. This monograph analyzes the architect's life work, starting with his period as a student at the newly opened Bauhaus in Weimar (1946) and his work as an assistant to Egon Eiermann in Karlsruhe. In 1951 Zeidler went to Canada. He has been responsible for over 2,000 buildings since then, and they are presented in later chapters. The book contains over 720 plans, drawings and photographs, some of them full page and double page spreads. It also covers his most recent designs: the media park in Cologne, major projects in London, Moscow and Toronto, the West Palm Beach opera house and a multifunctional theatre in North York. Zeidler's entire output is intepreted chronologically and placed in the context of contemporary architectural development. It concludes with an essay on the philosophy of architecture by the architect.

Business Management at the Weimar Bauhaus

Business Management at the Weimar Bauhaus

Business Management at the Weimar Bauhaus

In the literature, a contrast is generally drawn between the introverted, theoretically orientated Weimar period and the extroverted, sachlich Dessau period, during which the Bauhaus forged links with industry and fulfilled its pledge to provide welldesigned everyday goods for ordinary people. The Weimar Bauhaus is conventionally thought to have been an ivory tower, or Kunstinsel, isolated in a stormy sea of theory. We are given to understand that more energy was expended on theoretical debate and filling out Kandinsky's questionnaires on colour and form than on activity in the under-equipped workshops, let alone on marketing their products. It has, however, come to light during my research that the Bauhaus workshops were productive from an early stage and that there was a surprising amount of contact with the world beyond the school gates. By the time of the Bauhaus Exhibition, which ran from 15 August to 30 September 1923, Gropius realized that the very survival of the school depended on making contact with the external world (das Werkleben), and in particular, finding industrial manufacturers for the models developed in the workshops. The more money the school could earn through the sale of its workshop products, the less dependent it had to be on funding from the Thuringian government, and therefore upon government policy. From the beginning, the workshops accepted commissions on an ad hoc basis; from the time of the 1923 exhibition onwards, the Bauhaus had a production department, run by the 'Syndikus', or business manager. The position of Syndikus was first held by the architect Emil Lange, who joined the Bauhaus in 1922 to supervise a building research department which never materialized, owing to lack of resources.* It was the task of the Syndikus to struggle for the financial viability of the school. Through him the Bauhaus acquired a network of sales representatives throughout Germany and abroad, and participated in international trade fairs. Lange and Gropius also entered into complex negotiations to secure a business-like form for the production department, which was to be called the Bauhaus GmbH (a public limited company). It is not my intention to suggest that the Weimar Bauhaus was hugely successful in marketing itself and forging links with outside retailers and manufacturers, but rather to show that serious attempts to do so were made. The reasons for their varying degrees of success shed light on the nature of the Weimar Bauhaus. The strains of the Syndikus's job were enormous, and in Spring 1924 Lange resigned. As he did so, he complained that it was an impossible task to administrate an educational institution as a profitmaking concern.* hi May Lange was succeeded by Dr Necker of the Staatsbank, which was providing financial support for the Bauhaus. Necker began what he considered to be his impossible job in June 1924. The Bauhaus's 1920 budget of 206,000 Marks had increased at a rate less than inflation, while the school had swollen to about 200 students (some of whom had to be paid for their workshop activity) and about twenty Masters (Form and Craft). The Bauhaus's credit had long since been exhausted and the school survived on a handto-mouth basis only. Necker soon realized that he would have to face the problems alone:_