The color theories formulated in the Bauhaus in the late 1910s — early 1930s became key concepts for the further development of Western European coloristic culture. The coloristic solutions of the architectural environment, visual and...
moreThe color theories formulated in the Bauhaus in the late 1910s — early 1930s became key concepts for the further development of Western European coloristic culture. The coloristic solutions of the architectural environment, visual and decorative arts, which were found by the Bauhaus masters and disciples, developed in the context of avant-garde trends at that time prevailing in Germany.
The Bauhaus first years were marked by the influence of Expressionism. Color had to perform an important social task by improving the quality of life, filling with emotions and bringing up a “new spirit”. At the same time, the coloristic solutions reflected the individuality of the authors. The expressionist period in the Bauhaus is associated with the name of J. Itten and his Vorkurs. In 1921–1924, with the beginning of T. van Doesburg’s lectures, De Stihl’s color concept spread. The rationalistic coloristic solution ensured the integrity of an individual work and synthesis of all the products produced for life, its relation with space. It constrained the pronounced individualism, diversity and excessiveness characteristic of Expressionism. The theories of V. Kandinsky and P. Klee had the features of rationalism, but at the same time they retained quite a lot of expressionist characteristics. Functional color should be fully devoted to the subject, which it colors, and its purpose. In the building, it is called upon to ensure integrity, to organize movement in space, and to exert an emotional impact corresponding to the functional use of the room. In printed products, color organizes the plane, provides simplicity, speeds up information assimilation, etc. Employing the theory of W. Ostwald, H. Scheper, J. Schmidt, H. Bayer used the functional color. When H. Meyer replaced W. Gropius as director in 1928, the functional side began to play even more significant role. The next director of the Bauhaus, Mis van der Rohe, rejected the paint in his work as excessive decoration, hiding the natural color and material properties.
The analysis of particular works allows to see how the color theory came into close relationship with socio-political aims, general trends in art, while remaining consistent with productive necessity, with those expressive means available to certain kinds of products, as well as with personal thoughts of masters and directors of the Bauhaus.
