The male icons of the early-20th-century Bauhaus school, like Josef Albers, László Moholy-Nagy, and Paul Klee, are some of the most celebrated pioneers of modern art. But the women artists who taught, studied, and made groundbreaking work with them are often remembered in history books as wives of their male counterparts or, worse, not at all.
While women were allowed into the German school—and its manifesto stated that it welcomed “any person of good repute, without regard to age or sex”—a strong gender bias still informed its structure. Female students, for instance, were encouraged to pursue weaving rather than male-dominated mediums like painting, carving, and architecture. Bauhaus founder Walter Gropius encouraged this distinction through his vocal belief that men thought in three dimensions, while women could only handle two.
The year 2019 will mark the 100th birthday of the Bauhaus. As that date approaches, this bias toward the school’s male students is being revised, and its many integral female members recognized by scholarship and institutional exhibitions. Weavers, industrial designers, photographers, and architects like Anni Albers, Marianne Brandt, and Gertrud Arndt not only advanced the school’s historic marriage of art and function; they were also essential in laying the groundwork for centuries of art and design innovation to come after them.