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.Peterhans was an exceptional pro-fessional who defined photography as  painting with light, thus elevating themedium beyond a mere method of exact visual reproduction.128 Most of the visualartists remained virtually unknown in America during that period.This was true forthe sculptor Gerhard Marcks, one of the first appointees at the Bauhaus who was incharge of the pottery workshop until its discontinuation in 1925, and for the formida-ble artist Oskar Schlemmer, who between 1920 and 1929 developed the sculptureworkshop and, in Dessau, the Bauhaus stage production program.Georg Muche smodel house was mentioned on the occasion of the Bauhaus exhibition in 1923, but asa painter and leader of the Weimar and Dessau textile workshops he was included inAmerican discussions.Not much was known about the innovative products of themetal workshops129 and their leading designers such as Marianne Brandt and Wilhelm124 E.Washburn Freund,  Modern Art in Germany, 45; and Helen A.Read,  The Exhibition Idea inGermany, 201.Also refer to the sections  Exhibitions and  Points of Contact, chapter 2,above.125 Lozowick,  Modern Art, 672.126 Scheffauer,  The Work of Walter Gropius, 50; Hitchcock, Modern Architecture, 187.127 Scheffauer,  The Work of Walter Gropius, 50.128 Quoted in Wingler, The Bauhaus: Weimar, Dessau, Berlin, Chicago, 498.129 Bernstein,  Josef Albers at Black Mountain College, 254.148 THE IMAGE OF THE BAUHAUS AS RECEIVED IN AMERICAWagenfeld, who, more than most of their colleagues, achieved the programmatic unityof art and technology in the designs of their lamps and other utilitarian goods.Equallylittle attention was given to the first generation of Bauhaus students, some of whombecame extraordinary artists and, following the Bauhaus s move to Dessau, were ap-pointed as Jungmeister and teachers.They proved the success of the educational conceptsof the Weimar Bauhaus and made the Dessau Bauhaus the era of the student genera-tion.Besides Josef Albers, this group included Herbert Bayer, who was in charge of theprinting workshop until 1928; his successor Joost Schmidt, a multitalented visualartist and admired teacher; Hinnerk Scheper, who was responsible for the mural-painting workshop; and Gunta Stölzl, the only woman master at the Bauhaus, whodirected the textile workshop after Muche s departure and who had significant influ-ence on industrial and artistic weaving.Numerous Bauhaus associates whose accomplishments were worthy of mentionremained almost entirely unknown even if they were architects or interior designers.This group included Alfred Arndt, Anton Brenner, Gunter Conrad, Howard Dear-styne, Friedl Dicker, Wils Ebert, Fred Forbat, Edvard Heiberg, Wilhelm Jakob Hess,Herbert Hirche, Hubert Hoffmann, Waldemar Hüsing, Eduard Ludwig, Adolf Meyer,Farkas Molnár, Georg Muche, Rudolf Ortner, Pius Pahl, Lilly Reich, Selman Selma-nagic, Franz Singer, Mart Stam, Hans Volger, Gerhard Weber, and Hans Wittwer.130In addition to Adolf Meyer, Gropius s partner until 1925, between 1921 and 1928Werner Düttmann, Carl Fieger, Franz Möller, Ernst Neufert, Richard Paulick, andBunzo Yamaguchi worked for Gropius s private office, which was not only located atthe Bauhaus building but also produced most of those works that would later be re-ceived as Gropius s  Bauhaus architecture. Some of the architects mentioned aboveappear in the articles studied here, but only seldom and always in conjunction with thearchitects who were the primary focus of reception.Thus, Adolf Meyer is mentionedwith Gropius, Lilly Reich with Mies van der Rohe, and Hans Wittwer with HannesMeyer.They remain faceless, their artistic individuality undefined and overshadowedby their partners.Of all these examples, the failure to recognize Adolf Meyer is most noticeable.As Gropius s partner and closest associate, he was not only equally responsible for theFagus shoe factory of 1911 but also for the architectural work completed during theWeimar Bauhaus period.Lilly Reich, who worked in similarly symbiotic cooperationwith Mies, was also ignored.She was an exceptional talent and much more than a mereassistant in her work with Mies.No one acted as her advocate in America to rescue herwork from relative anonymity.In Germany, too, her achievements were undervalued,both within her own oeuvre and in her significance for Mies s intellectual and artisticevolution.The fact that Reich was a female member of the Bauhaus caught in themale-dominated reception of those years may have been a factor here, as well as in thecase of Stölzl.149 INSTITUTIONAL CHARACTERINSTITUTIONALCHARACTERThe Bauhaus was the result of the 1919 merger of two Weimar schools, the Art Acad-emy (Grossherzogliche Sächsische Kunsthochschule) and the School of Arts and Crafts(Grossherzogliche Sächsische Kunstgewerbeschule) [ Pobierz caÅ‚ość w formacie PDF ]