Ever since Michael Thonet established Gebrüder in 1819, the brand has been at the forefront of mass producing the now iconic bentwood and tubular steel furniture by designers from the Bauhaus era as well as contemporary designers and architects, as well as Thonet himself, of course. Gebrüder is not only one of the oldest modern design brands and manufacturers, it's also one of the few that are still family owned and managed. The 5th generation of Thonet's (Michael's great-great-grandchildren) currently run the company in Germany, but a few days ago they announced their new partnership with M2L to distribute classics like Mart Stam's chrome-plated cantilevered chair and the Vienna coffee house chair that started it all to the US market. Yes, it's a little crazy to think that a brand like Gebrüder hasn't had direct US distribution in its nearly 200 year history, but better late than never. M2L has a thirty year reputation for distributing the quality craftsmanship and time-honored work of designers like Alvo Aalter, Walter Gropius, Eero Aarino as well as contemporary talents, including Patrick Norguet, Norman Foster and Pearson-Lloyd. Here are a few of our favorites from the Gebrüder T 1819 collection. Marcel Breuer's tubular steel desk (S 285). We want these with the matching cantilever chairs with a wood-framed wicker back and seat (S 32) for our office. Christian Lepper and Roland Schmidt's comfortable yet structured ergonomic lounge chair and ottoman (S 850, S 853) in oak-stained molded plywood and black leather. Naoto Fukasawa's solid wood 130 chair (available in oak, beech or stained, with or without arms) is all grown up yet fun and lively, too.
Posts tagged with "Bauhaus":
Grete Marks: When Modern Was Degenerate Milwaukee Art Museum 700 North Art Museum Drive Milwaukee, WI Through January 1 Grete Marks was born in Cologne in 1899 to an artistic Jewish family, and she enrolled in the ceramics program at the Bauhaus School in 1920. In 1923 she left the school to marry a young industrialist with whom she founded the Haël Factory for Artistic Ceramics to produce her designs. These works are composed of simple geometric shapes, glazed with striking colors and patterns in the style of Soviet Constructivist painters and showcasing the Bauhaus ideal of uniting industrial mass-production with Modernist aesthetics. Marks’ legacy as a potter was cut short by the Nazi party when in 1935 they declared her artwork “degenerate,” and her avant-garde pottery career ended with the onset of World War II. This will be the first American exhibition to explore Marks’ work and the circumstances that have prevented her name from entering the list of Bauhaus greats.
Lyonel Feininger: Photographs, 1928–1939 Getty Center 1200 Getty Center Drive Los Angeles, CA Through March 2012 The American-German artist Lyonel Feininger, famous for his urban and landscape paintings, took up photography in 1928. Already a longtime collaborator with Walter Gropius—Feininger taught printmaking at the Bauhaus for almost a decade while Gropius was director—Feininger turned to the “mechanical” medium to explore the effects of light and shadow, reflections, and night imagery. A majority of his photographs have remained in relative obscurity. The exhibit Lyonel Feininger: Photographs, 1928–1939 at the Getty Center is the first U.S. venue to present a comprehensive collection of his photography. Feininger’s photographs center on architecture: the hard geometric forms of the Bauhaus campus at night, and the Dessau railway station, as well as the urban and rural landscapes he encountered during his travels to Paris and the Baltic coast. The exhibit also presents his later work where, after the close of the Bauhaus by the Nazis, he became captivated by the surreally lifelike figures of mannequins in window store displays. Photographs by Feininger’s son, T. Lux—a student at the Bauhaus—are exhibited alongside his father’s, including his photograph of Karla Grosch in “Dance in Metal” at the Bauhaus. Feininger’s images, dominated by multiple exposures and dramatic contrasts, were captured using a Voigtländer Bergheil camera, which is on display along with his photographs. His explorations in photography as a means of creative expression and documentation marked the emergence of the German New Vision school of photography that began on the brink of World War II.
Lyonel Feininger: At the Edge of the World Whitney Museum of American Art 945 Madison Ave. at 75th St. New York, NY 10021 T 212-570-3600 “The ultimate aim of all artistic activity is the building! Let us desire, conceive, and create the new building of the future together. . . [and it] will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith,” Walter Gropius boldly declared in his 1919 “Bauhaus Manifesto,” laying the foundations for a new architecture and a modern approach to design. Seeking to reunite the artist and artisan together, the founders of the Bauhaus looked to medieval guilds as a model for a new design school that would combine the arts and design under one roof. To illustrate the manifesto, Gropius selected a woodcut by American-born German artist Lyonel Feininger, titled, “Cathedral,” an abstracted depiction of a late Gothic church. This collaboration marked Lyonel Feininger’s first involvement with the Bauhaus—he would be later hired to teach printmaking—that would continue until the school was closed under pressure from the Nazis in 1933. Until October 16th, “Cathedral” is on display at the Whitney Museum of American Art as part of the retrospective, Lyonel Feininger: At the Edge of the World. It is the first show in the U.S. to include the full range of Feininger’s work. The exhibit begins with his whimsical street scenes filled with bright, saturated colors; there are also his Chicago Tribune “Kin-der-Kids” comics, his black and white photographs of the Bauhaus, hand-carved miniature buildings, and his prism-like, Cubist inspired portrayals of towns and seascapes. At the Edge of the World captures the expansive diversity of Feininger’s German and American subjects, formal expression, and mediums. The exhibit design is simple and fluid, if conventional for a contemporary retrospective: Feininger’s work is organized chronologically rather than thematically, arranged on white walls, with ample breathing space between pieces. A 1925 Time magazine review of a “Blue Four” exhibition in Manhattan, which included Feininger’s work alongside Alexej von Jawlensky, Wassily Kandinsky, and Paul Klee, straightforwardly declared that in modern art, “Artists should put down lines, lay on colors, with the simple purpose of giving the eyes an adventure.” The Whitney succeeds in conveying the exciting experimentation between art and design, so central to Feininger’s work and the Bauhaus vision.
PEOPLE'S CHOICE AWARDS Who among us hasn’t been following the pruning at our beloved Condé Nast? “Cold,” we gasped as the swag was packed up and shipped to the catacombs under 4 Times Square. “Just plain mean!” we stammered when Gourmet was euthanized. Cold and mean are economic realities across the board these days, so we soldier on. Recently, however, we learned of a totally out-of-character editorial move at Vanity Fair editor Graydon Carter sent letters, via FedEx, to 80 architects, critics, historians, and others asking them to contribute to an “opinion survey” from which the “five most important” buildings or works of engineering or infrastructure since 1980 would emerge. Respondents were then asked to name, in their opinion, the single most important work completed thus far in the 21st century. The letter went on to promise a lavishly illustrated feature, including interviews with the winning architects. This is not the way we evaluate art, design, and architecture. This is the way we pick the best corned-beef sandwich in town. One of the esteemed invitees opined that if the survey went out to all the usual suspects, then we can expect the winners to be the usual and suspect as well. Another cynic pointed out that the survey relieves the magazine from having to pay a real writer. (Forbes did something similar in 2002, but its search was for the ugliest.) Yet another voter suggested that the article be a roundup of architects who have designed showrooms or headquarters for *Vanity Fair advertisers: Koolhaas, Marino, Koolhaas, Pawson, Koolhaas. BACK TO THE FUTURE Eavesdrop is giddy about the opening of Bauhaus 1919–1933: Workshops for Modernity at MoMA. Much to see and do. And yet, we’d like to draw your attention to a footnote, one of those insider’s jokes with historical significance beyond its visual impact. Think back to 1975. Arthur Drexler, MoMA’s director of architecture and design, had just mounted *The Architecture of the Ecole des Beaux-Arts, which many thought was an anachronistic exhibition for a modern museum. As an ironic joke, Suzanne Stephens, now deputy editor at Architectural Record, and Susana Torre, a practicing architect in Spain, designed a “bring back the Bauhaus” button for the 1975 opening. Both Stephens and Torre, alumnae of MoMA’s Architecture and Design Department, wanted to acknowledge the shock value of presenting a show based on a 19th-century academy. According to the package notes, when offered a button at the opening, Drexler refused but by the end of the evening he was caught up in the spirit of the occasion. We are happy to announce that now that MoMA has indeed brought back the Bauhaus, the button has been reissued. Go buy one before someone introduces “bring back the Beaux.” Send Anni Albers rugs and Breuer club chairs to email@example.com.