Gertrud Grunow

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Gertrud Grunow (born July 8, 1870 in Berlin ; † June 11, 1944 in Leverkusen ) was a German singing teacher and music teacher . From 1919 to 1924 she taught as a master and officially the only woman at the Bauhaus in Weimar , where she influenced many Bauhaus masters.

Until 1933, Grunow had a strong influence on the development of art and science in Germany. Its importance for the Weimar Bauhaus was mainly recognized by Lothar Schreyer , its importance for psychological research by the Hamburg developmental psychologist Heinz Werner (1926).

Life

Initially, Gertrud Grunow was a student and assistant to the singing teacher Ferdinand Sieber (1822–1895) in Berlin, and later worked with Giovanni Battista Lamperti (1839–1910). She was in contact with the conductor and pianist Hans von Bülow (1830-1894).

1898–1916 she worked as a singer and singing teacher in Remscheid , where in 1908, as a member of the Geneva Societé de gymnastique rythmique, she introduced rhythmic education based on the Émile Jaques-Dalcroze method and introduced it to school lessons. In performance practice, she first became aware of a systematic connection between basic tones and basic colors in voice training . In 1913, together with Ernst Cassirer , Walter Gropius and Aby Warburg, she was among the participants in the 1st Congress for Aesthetics and Art History in Berlin. At the beginning of the First World War, in 1915, there is evidence of the collaboration with the psychologist and voice researcher Felix Krueger in Halle.

1916–1920 she returned to Berlin and taught there as a singing teacher; among her students were Hans Kayser , Otto Nebel and Thomas Ring

An invitation from Eugen Diederichs took her to Jena and Weimar in 1919, supported by her Remscheid assistant Hildegard Heitmeyer. 1920–1924 she was a master craftsman at the State Bauhaus in Weimar (entry in the Weimar address book 1921/1922). The systematic concentration on elementary sensory stimuli became the basis of the entire educational program of the Weimar Bauhaus as a “doctrine of harmonization” and was effective right through to the theory formation of the artists ( Wassily Kandinsky , Paul Klee , Oskar Schlemmer ). She drew many dancers and musicians to Weimar, u. a. Stefan Wolpe , and promoted the reflective light plays (colored light plays). Lothar Schreyer passed on her collaboration with the stage workshop and weaving mill. She also helped Johannes Itten to set up the preliminary apprenticeship.

Gertrud Grunow was a member of the Bauhaus Council in 1923. In the accompanying volume of the Bauhaus exhibition of 1923 , Gertrud Grunow published: The construction of living form through color, shape, tone , following on from Walter Gropius' contribution, Idea and Structure of the State Bauhaus . Their method was then at the center of the controversy over the Weimar Bauhaus.

At the Weimar exhibition of 1923 she participated in the theoretical work department:

  • Works from the pre-apprenticeship - Johannes Itten (room 36)
  • Works from Analytical Nature Drawing - Wassily Kandinsky (Room 37)
  • Work from the theory of form and design - Paul Klee (Room 37)
  • Works from the theory of harmonization - Gertrud Grunow (room 37)
  • Works from the color course - Wassily Kandinsky (Room 38)

In 1924, Gertrud Grunow received pictures of the Bauhaus masters as gifts as a parting. Some of these works were later moved to the Solomon R. Guggenheim Museum , New York City , from Hilla von Rebay's estate .

1924–1933 she worked in Hamburg with the Philosophical Seminar ( William Stern and Ernst Cassirer) and the Psychological Institute (William Stern and Heinz Werner ) and the affiliated psychological laboratory of the Hamburg University . She was friends with Gertrud Bing , Aby Warburg's assistant . With Ludwig Hirschfeld-Mack she took part in the Hamburg congresses for color-tone research.

1933–1939 Grunow lived in Hamburg and London, 1939–1944 in Düsseldorf, most recently in 1944 in Leverkusen. She was buried in Bonn.

method

From 1920 to 1924 Gertrud Grunow taught basic harmonization at the Weimar Bauhaus together with Hildegard Heitmeyer, who assisted her and in 1924 married Otto Nebel , a student of Grunow . Variants of rhythmic education were also included in other teaching institutions at the time, such as the Folkwang School in Essen . According to the above-mentioned report by Eugen Diederichs, in Weimar in 1920, sensory-related expressive movements were operant-conditioned in group lessons . Its basis was the spatially arranged 12-note series of the scale (c, c sharp / db, d, d flat / es, e, f, f sharp / gb, g, g sharp / a flat, a, a sharp / b flat, b - twelve-tone music ), a Correspondingly assigned 12-valued color series (white, orange, blue, red-violet, green-blue, green, silver, red, gray, blue-violet, brown, yellow - today the standard model DIN 5023 ) and a correspondingly structured group of basic geometric elements. So it was about the basic elements of every piano and every school color box. Therefore the scheme of the harmonization theory was included in the so-called preliminary course and was continued by this.

Fonts

  • What is Jaques-Dalcroze the singer? In: Rheinische Musik- und Theaterzeitung. 12, 1911, pp. 462-464.
  • The construction of the living form through color, shape, sound. In: Walter Gropius: Staatliches Bauhaus Weimar 1919 to 1923. Bauhaus-Verlag 1923, pp. 20–23.
  • About the effect of color on the seeing eye. In: Art and Youth. 15 (7), 1935, pp. 149-150.
  • The effect of the sounding tone on hearing. In: Art and Youth. 15 (9), 1935, pp. 210-211.
  • How ways of seeing and hearing are really related. In: Art and Youth. 16 (2), 1936, p. 39.
  • Color shapes. In: Art and Youth. 16 (8), 1936, pp. 179-180.
  • From the color in the round. In: Art and Youth. 18 (2), 1938, pp. 36-37.
  • Natural shape development. In: Art and Youth. 18 (7), 1938, pp. 139-140.
  • “The Grunow doctrine, ed. R. Radrizzani, Noetzel, Wilhelmshaven, 2004 ”, pp. 61–110 contains some genuine writings by Gertrud Grunow

Honors

On October 13, 2011, the city of Munich named Gertrud-Grunow-Strasse in Schwabing-Freimann after the Bauhaus master

See also

literature

  • Gertrud Grunow: life and work. In: Art Education. 3, 1967, pp. 14-23 (obituary by Erich Parnitzke with an article by Hildegard Nebel-Heitmeyer and a reprint of the articles published in the journal Kunst und Jugend with an amendment dated July 10, 1927)
  • Cornelius Steckner: On the aesthetics of the Bauhaus. A contribution to research into synaesthetic principles and elementary education at the Bauhaus . 2nd Edition. University of Stuttgart, 1988.
  • Cornelius Steckner, the music pedagogue Gertrud Grunow as a master of formal theory at the Weimar Bauhaus: design theory and productive perception. In: The early Bauhaus and Johannes Itten. Weimar (Weimar Art Collections, Bauhaus Museum) 1994, ISBN 3-7757-0505-8 , p. 200 ff.
  • Cornelius Steckner: The Bauhaus master Gertrud Grunow: On the design theory at the Weimar Bauhaus. In: Rainer K. Wick (Ed.): "Bauhaus. The early years. Wuppertal 1996, pp. 42–54, ISBN 3-932286-00-6
  • René Radrizzani: The Grunow teaching. Wilhelmshaven 2004, ISBN 3-7959-0840-X .
  • Cornelius Steckner: symbol formation. In: Sign Systems Studies, Vol. 32, 1/2, 2004, pp. 209-226, ISSN 1406-4243.
  • René Radrizzani: La méthode Grunow. Wilhelmshaven 2005, ISBN 3-7959-0859-0 .
  • Cornelius Steckner: Bauhaus and Hamburg University. In: Gudrun Wolfschmidt (Ed.): Hamburg's history with a difference. Development of the natural sciences. Nuncius Hamburgensis - Contributions to the History of Natural Sciences. Vol. 2. Medicine and Technology, Norderstedt 2007, ISBN 978-3-8334-7088-2 , pp. 30-57.
  • Cornelius Steckner: Bauhaus and DIN 5023. In: Konrad Scheurmann (Ed.): Red. green. blue. Experiment in color & light. TU Ilmenau, 2008, ISBN 978-3-9811758-5-1 , pp. 84-89.
  • Gertrud Grunow . In: Patrick Rössler , Elizabeth Otto : Women at the Bauhaus. Pioneering modern artists. Knesebeck, Munich 2019. ISBN 978-3-95728-230-9 . Pp. 20-21.

Web links

swell

  1. ↑ Ferdinand Sieber: Katechismus der Gesangskunst (1862) or The Art of Singing (1879) was a standard textbook of singing education. Sieber was appointed professor in 1873 because of his achievements.
  2. ^ Gertrud Grunow (1870–1944). A biography in documents
  3. ↑ Gertrud Grunow: What is Jaques-Dalcroze the singer? Rheinische Musik- und Theaterzeitung, 12, 1911, pp. 462–464.
  4. ↑ Felix Krueger, On Developmental Psychology, 1915, p. 108.
  5. ^ Ingrid Skiebe: Thomas Ring, 1988, pp. 71 and 75.
  6. ↑ Eugen Diederichs: Subconscious and form. In: Die Tat , Vol. 12, Issue 2, May 1920, pp. 136-137.
  7. ^ Document of October 10, 1923, ill. In Magnum 35, 1961, p. 45, ill. 2.
  8. ^ Wingler, p. 69.
  9. ↑ Documentation in: Cornelius Steckner: On the aesthetics at the Bauhaus. A contribution to research into synaesthetic principles and elementary education at the Bauhaus. University of Stuttgart 1986.
  10. ↑ first mentioned by Heinz Werner: Introduction to Developmental Psychology. 1926.
  11. ^ Exhibition guide to Otto Nebel, 2012/13. In: Kunstmuseum Bern . July 8, 2020 .;
  12. ↑ Cornelius Steckner: Bauhaus and DIN 5023. In: Konrad Scheurmann (ed.): Red. green. blue. Experiment in color & light. TU Ilmenau, 2008, pp. 84-89.
  13. ↑ A comparison of methods with Cornelius Steckner: Sensory impression and perception are creative acts of the mind. Research at the Weimar Bauhaus and Hamburg University, in: Jürgen Faust and Fritz Marburg (eds.): Zur Universität des Schöpferischen, Münster 1994, pp. 52–77 ISBN 3-8258-2324-5 .
  14. ↑ Radrizziani, 2004, p. 19 f. Note 60 points out that, on the other hand, “Gertrud Grunow: The Circle of Equilibrium / A Bauhaus Document” is “a fraudulently attributed work to Gertrud Grunow”.
  15. ↑ Munich street directory
personal data
SURNAME Grunow, Gertrud
BRIEF DESCRIPTION German opera singer and pianist
DATE OF BIRTH July 8, 1870
PLACE OF BIRTH Berlin
DATE OF DEATH June 11, 1944
Place of death Leverkusen