Gunta Stolzl was an German textile artists whom became the first Master of the Bauhaus in Dessau in 1925. Stolzl united the art practices taught at the Bauhaus with traditional techniques. The Bauhaus was a school of new rules and approaches to art and design through the exploration practice. Taught by Jonannes Itten (colour theory), Paul Klee (Visual thinking) and Wassily Kandinsky (abstract art) Stolzl took these modern art ideas into a new weaving practice.
When weaving went to Dessau, it became a more functional in nature and desired the needs of contemporary industrial design. Her audacious threading was most prominent, free and creative at the Bauhaus then it was after she left German to Switzerland.
Design for a carpet, 1926/27
The Bauhaus was a school which progressed and pushed the art of experimentation with making rather then drawing and designing as a first principle. Stolzl led the multi-disciplinary practice to extend the possibilities of textile design. Her often complex but sometimes simplistic weaves are a statement of the creative process at the Bauhaus, the freedom without a purpose of creation allowed the true experimentation into form, order, space and colour. In the move to the industrial city of Dessau was were she created her most bold portfolio of work, projecting the ideas that poems fraught with ideas, flowering descoration and personal experience was quickly approved by the outside audience of the Bauhaus, because they were most easily understood, and thanks to their subject matter, they are the most ingratiating of those widely revolutionary Bauhaus creation.
In conversation with William Morris and the art of ornamentation, modernistic art was to be devoid of decoration, however, non representational art such as these textile pieces from Stolzl suggest that abstraction generated in these forms such as wall hangings, tapestries and rugs, could be a form of this. A minimalistic form of ornamentation or decoration is something everyone even the most minimalist of subjects can relate to because of the functionality of the product, requires the subject to have an experience with it. Whether the message of the pattern is acknowledged or not, is irrelevant, but necessary for the artist to generate a pattern aesthetically appealing in mass production.
Gunta Stolzl Collection: http://www.guntastolzl.org/Works/
Müller, U., Radewaldt, I., & Kemker, S. (2009). Bauhaus women : Art, handicraft, design. Paris: Flammarion.
SKENDER, M: History of textile art: Gunta Stolzl (1897-1983) _ http://www.textileartist.org/textile-artist-gunta-stolzl-1897-1983/