The Bauhaus remains the most influential art and design school of the 20th century – perhaps of all time. One of a handful of like-minded institutions founded in the aftermath of the First World War and the Russian Revolution, it was established in Germany in 1919 by the architect Walter Gropius. The Bauhaus was nothing less than an attempt to remake the world, to transform industry by bringing together art, design and technology and dismantling the boundaries between the disciplines. 


In this sense, the Bauhaus completely broke with the way in which art had been taught at academies in the 19th century. Life drawing classes were eschewed and carefully practised figuration no longer encouraged. They were replaced by geometric abstraction, performance and material experimentation. The school was divided into lab-like workshops, such as metalwork, theatre and photography, each led by a different master.

For all of its enduring legacy, the Bauhaus was short-lived. Opening in Weimar, it moved to Dessau before a brief stint in Berlin, where it was closed in 1933 under Nazi pressure. Many of the students moved on to the US and beyond in the 1930s, disseminating Bauhaus teaching.

In the UK, it shaped the art foundation course, while in the US, Bauhaus tutors and students established programmes at Harvard, and in Chicago and San Francisco. Today Bauhaus precepts still underpin how art and architecture are taught all over the world.

In the same year that Kala Bhavana and the Bauhaus opened, Kazimir Malevich founded the UNOVIS group (an abbreviation of the Russian for ‘Champions of the New Art’) at the Vitebsk People’s Art School in modern-day Belarus.

Another Soviet experiment in avant-garde art education – larger, though less well known than UNOVIS – was VkhUTEMAS (an acronym for Higher Art and Technical Studios), which opened in Moscow a year later, in 1920. Sometimes referred to as ‘the Soviet Bauhaus’, VkhUTEMAS conceived of art as a kind of industrial production, and was established by the decree of Lenin. Its programme was based on the integration of artistic and scientific practices, underpinned by a kind of foundation course, which leant on material experimentation. 


Like the Bauhaus, this was a state-sponsored initiative to produce artist-designers. Its faculty numbered the key Constructivist artists El Lissitzky, who designed the cover of the school’s architecture textbook (pictured), Alexander Rodchenko, Varvara Stepanova and Lyubov Popova, as well as Malevich. Like the Bauhaus, however, VkhUTEMAS proved to be short-lived. It was dissolved in 1930, under an increasingly totalitarian regime.


Basic Design was the name given to a new approach to art training that spread across the UK in the 1950s and 60s. Partly indebted to the Bauhaus Preliminary Course, this encompassed an initial year of materials-focused experimentation – the foundation course that is familiar in the UK today.

Much of this Basic Design teaching took place outside London, in cities such as Leeds and Scarborough. These were crucibles for many young artists who later translated their artistic training into the spheres of pop and experimental music. Bryan Ferry was a student of Richard Hamilton’s at Newcastle; the artist once, perhaps apocryphally, described Ferry as “my greatest creation”.

Hamilton studied at the RA Schools, as well as the Slade, but he was also something of a conduit for continental European approaches to art education. In the 1950s, Hamilton spent time at the Hochschule für Gestaltung in Ulm, which was founded by the Bauhaus-trained architect and designer Max Bill. In 1953, Lawrence Gowing invited Hamilton to teach at Newcastle, where he was an influential presence until 1966, including on the foundation course he taught alongside Victor Pasmore (pictured). He brought Bauhaus-infused ideas to a range of topics, from semiotics to Duchamp. As former student, artist David Parsons, recalled in an article accompanying Tate’s 2014 retrospective of Hamilton, it is hard to overestimate the impact of his teaching; at that time, “Art schools were stuck in a mould that had been set in the 1940s, and they taught technique, not ideas.”

If for art schools in the West the interwar period was one of experimentation, the two decades after the Second World War were a time of rapid growth. By the 1960s, artists began to be employed in larger numbers by institutions that were increasing in size. At the same time, several select art schools were accruing an unprecedented level of influence.

Very few art schools become synonymous with a particular movement or period, but Kunstakademie Düsseldorf did both. In the 1960s, its progressive teaching was led by pioneering figures such as Joseph Beuys (pictured) and a student roster that included Gerhard Richter, Sigmar Polke and Blinky Palermo, who were to become some of Germany’s most influential painters. A decade later, Düsseldorf became connected with a generation of young photographers who coolly aimed to dismantle and reassemble the medium: Andreas Gursky, Thomas Struth, Candida Höfer and Thomas Ruff, under the tutelage of Bernd and Hilla Becher. Today, they are collectively still referred to as the “Düsseldorf School”.

Material Studies, or Materie, were at the very heart of the Bauhaus – not only of its Preliminary Course, but of its entire curriculum of experimentation and learning- by-doing. The focus instructors placed on mundane materials changed the course of modern art and design education. Where previous pedagogies had taught that the most advanced students would work with precious materials such as marble, Bauhaus students were encouraged to investigate the humblest of materials such as wire, thread and newspaper.

Josef Albers arrived at the Bauhaus in 1920 as a student. His proficiency was quickly identified and he was asked to teach a section of the Preliminary Course in 1923. By 1928 he was running it. Albers saw the value of putting basic materials into the hands of students. With simple hand tools and intuition, students developed a deep understanding of the potential and limitations of their materials. Instead of memorising established design principles, they discovered their own. Improvisation was celebrated.

This year, to mark the school’s centenary, a five-day practical course at the Royal Academy explores the exercises led by Albers, as well as other influential Bauhaus masters such as László Moholy-Nagy. While creating Materies, Albers’ students were guided to seek the essence of their chosen material both in isolation and in combination. In a photograph from Albers’ class (pictured) we see a student’s project of coiled and looping wire combined with wire mesh. Two gauges of wire have been used. The stouter of the two is spiralled almost as a spring, and exhibits its structural strength by carrying the weight of the entire assemblage. The thinner wire is attached at top and bottom by small clips, and still looks ready to spring loose at the slightest jostling.

The wire mesh most readily exhibits the thinking hand of the student. Loosely rolled into the larger wire’s coil at the centre of the photo, on the left it is twisted and scrunched in a way that demonstrates the flexibility and memory of its constituent metal. There are no classical compositional techniques evident in this assemblage, yet the student has found a way of showing the capabilities and limitations of its materials, as well as the process of making it. The core tenets of Bauhaus pedagogy are beautifully demonstrated in its most quotidian of materials.

Fritz Horstman is Artist Residency and Education Coordinator of the Josef and Anni Albers Foundation. He leads the course The Bauhaus Preliminary Course: Light and Space and Thread 22–26 July. Image courtesy the Josef and Anni Albers Foundation.