Marianne Brandt (artist)

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Marianne Brandt (born October 1, 1893 in Chemnitz , † June 18, 1983 in Kirchberg ; born Marianne Liebe ) was a German designer , photographer , painter and sculptor . With her product designs in the metal workshop at the Bauhaus , some of which are still reproduced today as design classics, she is one of the well-known Bauhaus artists.

life and work

Marianne Liebe spent her childhood in Chemnitz. Her parents, the lawyer Franz Bruno Liebe (1848–1936) and Clara Franziska Liebe (born Hänel 1862–1947) promoted the artistic interests of the three daughters. The father, a respected lawyer, was a member of the Chemnitzer Kunsthütte and the theater association and often traveled to Italy.

Weimar

In 1911, Marianne Liebe decided to move to Weimar , where she attended the Princely Free Drawing School for a year , which was directed by Hugo Flintzer († 1917). She then continued to prepare for the Academy of Fine Arts , where she was accepted into the drawing class in March 1913. From drawing class she switched to Fritz Mackensen's nature class and deepened her studies of landscape, portrait and nude painting as well as sculpture. Expressionist figurative works were the exhibits of their first exhibition, which took place in the renowned Chemnitz gallery Gerstenberger. Among her fellow students were Hans Arp , Otto Pankok and Otto Lindig, as well as her later husband Erik Brandt. After Mackensen had left the university at the beginning of the First World War, she interrupted her studies.

Oslo

In 1918 she left the university for good and married Erik Brandt in 1919. The two went temporarily to Norway and lived there briefly with Erik's parents, from whom they received little support, however. After that they both lived in a small, cramped studio apartment and Erik had his first exhibition in 1920 at the Kunstverein Oslo. However, Marianne Brandt did not feel at home in Norway. The two went on further study trips and stayed in Paris for a year, from where they probably returned to Weimar together at the end of 1921. At the university there, Brandt took part in Richard Engelmann's sculptor seminars . Her husband went back to Norway that same year.

bauhaus

“Design in Germany” stamp pad with a Brandt jug motif

Inspired by the Weimar Bauhaus exhibition in 1923, Marianne Brandt dealt with a new abstract conception of fine and applied arts and began her training at the State Bauhaus in Weimar in the winter semester of 1923/1924 . Before that, she had burned all of her painted pictures. She first attended the preliminary class of László Moholy-Nagy and Josef Albers . In addition, Wassily Kandinsky and Paul Klee taught her how to design and color. A close relationship developed between Brandt and the manager of the Moholy-Nagy metal workshop. Already at this early stage in the preliminary course, based on Moholy-Nagy's idea of ​​asymmetrical equilibrium constructions, she designed an inkwell holder with a nib rest made of sheet copper and the copper-nickel-zinc alloy nickel silver , a work that already points to her successful work. A little later she made the tea extract pot MT 49 from brass sheet and ebony with an interior silver-plated finish - later also from nickel silver, which was cheaper and more suitable for series production .

After her training in the metal workshop, which she completed with the journeyman's examination at the new Bauhaus in Dessau , she was appointed deputy head of the metal workshop in 1926. In the same year lamp designs for the new Bauhaus building were created . From 1926 to 1927 Brandt spent a work stay in Paris, where she mainly designed collages and photo collages in which she dealt with city life and reflected the position of women. After Moholy-Nagy left, she was acting head of the metal workshop in Dessau from April 1, 1928 until Alfred Arndt was appointed in 1929. This made her the only woman besides Gunta Stölzl who held a responsible position at the Bauhaus. Regarding the admission of women to the metal workshop, Marianne Brandt wrote in her letter to the young generation : “At first I was not welcomed with joy. The opinion was that a woman does not belong in the metal workshop. ”She had been entrusted with“ mainly boring, arduous work ”and that was later confirmed to her.

As early as 1926, Brandt initiated and organized a collaboration with the Berlin lighting company Schwintzer & Gräff and with the Leipzig company Körting & Mathiesen , which manufactured lights under the brand name "Kandem". The first products were on the market as early as 1927. Little by little, prototypes for successful series of table, wall and floor lamps from the "Kandem" brand were created. The college received monthly payments and license fees, half of which remained, the other half was shared between the metal workshop, its master and the respective designer. In return, the company was given "first access" to luminaire designs. Advice, training for students and supervision of production were also part of the scope of the cooperation at times. Brandt worked at the Bauhaus with other metal designers such as Christian Dell and Hans Przyrembel .

During her time at the Bauhaus, Marianne Brandt developed 28 lamp models and carried out lighting experiments to optimize them. Luminaires based on designs by Brandt, but also by other Bauhaus students who went into series production, are today among others. a. to the collection of the Museum of Modern Art in New York, the British Museum in London and the Busch-Reisinger Museum in Massachusetts.

Tea kettle, designed by Marianne Brandt

She often composed the basic scheme of her constructions from the geometric shapes of circles, spheres, squares and triangles in order to gain clarity and create a distance from the ornament. Like the other product designers and architects of the Bauhaus, Brandt followed the motto form follows function , using novel materials and testing their functionality for mass production in the design. At the Bauhaus she also developed her own formal language in the field of photography and photo collage, influenced by Moholy-Nagy. Your photos often show the process of their creation. In this way, she shows the position of the camera, the aids, etc., as is clear, for example, in her numerous self-portraits. In 1929 she completed her studies with the Bauhaus diploma and worked for four months in Walter Gropius' architecture office in Berlin as an interior designer , especially for the Karlsruhe-Dammerstock estate . In 1930 Brandt took part in the Werkbund exhibition in Paris, which took place under the direction of Gropius under the motto "The Apartment".

Many of her better-known designs were created during her time at the Bauhaus and some, such as B. Ashtrays, coffee and tea sets and lamps are still produced today as design classics in unchanged form. For the period around 1928/29 she used new types of materials such as opal glass , polished aluminum and nickel-plated brass.

More years

Marianne Brandt's house in Gotha, 18.-März-Strasse 34a from 1930 to 1932

At the end of 1929 Brandt became head of the design department at Ruppelwerk GmbH , a metal goods factory in Gotha , where she renewed a larger part of the range of household appliances intended for mass use. Due to the economic situation, she was released at the end of 1932. During this time she offered the Schweizer Wohnbedarf AG licenses for her products and exhibited lights during their “Light Week” at the Kunstgewerbemuseum Zurich.

During the time of National Socialism , Brandt lived in Chemnitz without any significant income of her own, mostly in her parents' house. In 1935 the artist, who was also a Norwegian citizen through her marriage, divorced from Erik Brandt. In 1939, according to the Bauhaus biography, she joined the Reich Chamber of Culture . and was then only able to exhibit a few smaller representational paintings in Chemnitz. She was unemployed until 1948. During this time, due to the lack of design commissions, she had turned back to painting and was able to continue to show her pictures sporadically, even after the end of the war.

From 1949 to 1951 she taught as a lecturer for wood, metal and ceramics at the Dresden University of Applied Arts under the direction of Mart Stam . She designed many consumer goods such as lamps made of metal and ceramics. In doing so, she was able to build on her experience at the Bauhaus. From 1951 to 1954 she worked at the Institute for Industrial Design at the Berlin-Weißensee School of Art . Brandt worked at the same time several times as an expert for the German Office for Material and Goods Testing (DAMW).

In the early 1950s there was the so-called formalism dispute in the young GDR . After that, modern art was rejected in favor of socialist realism . For the designers, too, this meant a return to so-called folk art with an emphasis on handcrafted decorative elements, a dogmatic requirement that ran counter to Brandt's intentions.

Marianne Brandt's grave at the Nikolaifriedhof in Chemnitz-Altendorf

In 1953/54 she also took care of the artistic supervision of the exhibition German Applied Art in the GDR in China, which was shown in Beijing and Shanghai from October 1953 to March 1954. In 1954 she returned to Karl-Marx-Stadt (today Chemnitz again) and devoted herself to free arts and crafts . In 1983 she died in a nursing home in Kirchberg near Zwickau.

In 1998 the stamp block Design in Germany came out, which, in addition to works by three other industrial designers, also depicts Brandt's tea extract jug from 1924. Since 2000, the Chemnitz art association “Villa Arte e. V. ”, the Marianne Brandt Competition is announced every three years .

Works (selection)

  • Bauhaus metal workshop: 1924 MT 49 tea extract jug , coffee and tea sets and ashtrays; Lamp designs, including 1926 ceiling lamp DMB30, 1928 table lamp Kandem (No. 756) in two sizes together with Hin Bredendieck for Körting & Mathiesen
  • Ruppelwerk Gotha : Numerous designs for everyday, office and decorative items made of metal, also in combination with glass, wood and other materials.

literature

Own writings

  • Marianne Brandt: Letter to the young generation . In: Eckhard Neumann (ed.): Bauhaus and Bauhäusler. Memories and confessions. Hallwag, Bern 1971, 5th edition, DuMont, Cologne 1996, ISBN 3-7701-1673-9 .

Secondary literature

  • Hans Brockhage , Reinhold Lindner: Marianne Brandt. “Have I ever thought of art?” Chemnitzer Verlag, Chemnitz 2001, ISBN 3-928678-63-9 . P. 235.
  • Torsten Bröhan, Thomas Berg: Design Classics , Taschen, Cologne 2001, ISBN 3-8228-6876-0 , pp. 87, 98, 104-105.
  • Charlotte Fiell, Peter Fiell (Ed.): Design des 20. Jahrhundert , Taschen, Cologne 2012, ISBN 978-3-8365-4107-7 , pp. 126–127.
  • Anja Guttenberger: Photographic self-portraits of the Bauhauslers between 1919 and 1933. Dissertation, Berlin 2012, online as a PDF file.
  • A. Leisner: Gebrüder Ruppel Metallwarenfabrik . Urania Kultur- und Bildungsverein Gotha (series of publications, issue 17), Gotha 2000, pp. 16-18.
  • Reinhold Lindner: A woman in the metal workshop - Marianne Brandt In: Britta Jürgs (ed.): From salt shakers to automobiles: Designers , Aviva Verlag, Berlin 2002, ISBN 3-932338-16-2 , pp. 39–51.
  • Ulrike Müller: The clever women of Weimar: regents, salon ladies, writers and artists from Anna Amalia to Marianne Brandt. Sandmann, Munich 2007.
  • Ulrike Müller, Ingrid Radewaldt, Sandra Kemker: Bauhaus women. Masters in art, craft and design. Elisabeth Sandmann, Munich 2009, ISBN 978-3-938045-36-7 .
  • Ulrike Müller: Bauhaus women. Marianne Brandt . In: EMMA, September / October 2009.
  • Brandt, Marianne . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 2 : E-J . EA Seemann, Leipzig 1955, p. 298 .
  • Brandt, Marianne . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 5 : V-Z. Supplements: A-G . EA Seemann, Leipzig 1961, p. 335 .
  • Franz Xaver Schlegel: Brandt, Marianne . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 13, Saur, Munich a. a. 1996, ISBN 3-598-22753-1 , p. 642.
  • Elizabeth Otto (Ed.): Tempo, Tempo! Bauhaus photomontages by Marianne Brandt. Jovis, Berlin 2005, ISBN 978-3-936314-55-7 .
  • Manja Weinert: The photo montages and photo – text collages by Marianne Brandt . Grin 2003, ISBN 978-3-638-71559-1 .
  • Anne-Kathrin Weise: The Bauhaus artist Marianne Brandt In: Tilo Richter (Hrsg.): Der Kaßberg. A Chemnitz reading and picture book. Passage-Verlag, Leipzig 1996, ISBN 3-9805299-0-8 . Pp. 259-270.
  • Anne-Kathrin Weise: Marianne Brandt: pioneer of product design . Wiesbaden: Weimarer Verlagsgesellschaft, 2018 ISBN 978-3-7374-0270-5 .
  • Elisabeth Wynhoff: Marianne Brandt: Photographs at the Bauhaus. Hatje Cantz, Ostfildern-Ruit 2003, ISBN 3-7757-1310-7 . P. 104.
  • Karsten Kruppe: Marianne Brandt. Approaching a life. , Pp. 48-53. in the metal workshop at the Bauhaus . Exhibition at the Bauhaus-Archiv, Museum für Gestaltung, Berlin, February 9th - April 20th, 1992 / (edited for the Bauhaus-Archiv by Klaus Weber), Kupfergraben Verlagsgesellschaft mbH, Berlin, 1992, ISBN 3-89181-405-4 .
  • Kai Uwe Schierz, Patrick Rössler , Miriam Krautwurst, Elizabeth Otto (eds.): 4 "Bauhaus girls": Arndt, Brandt, Heymann, Reichardt , Dresden, Sandstein 2019, ISBN 978-3-95498-459-6 , 335 pp .
  • Marianne Brandt . In: Patrick Rössler , Elizabeth Otto : Women at the Bauhaus. Pioneering modern artists. Knesebeck, Munich 2019. ISBN 978-3-95728-230-9 . Pp. 80-85.
  • Marianne Brandt and her work in the metal goods factory Ruppelwerke GmbH Gotha . Catalog accompanying the exhibition "Inspired by the Bauhaus - Gotha experiences modernity" in the KunstForum Gotha from November 15 to December 29, 2019. KulTourStadt Gotha GmbH (publisher), Gotha 2019.

Movie

  • Color, shape, light. Marianne Brandt - An artist from Chemnitz . Direction: Nicole Schink, Thomas Pencs; Production: Chemnitzer Filmwerkstatt eV, 2002

Honors

At Marianne Brandt remember today:

Web links

Commons : Marianne Brandt (designer)  - Collection of images, videos and audio files

Individual evidence

  1. ^ Anne-Kathrin Weise: Marianne Brandt. Life and work . Berlin 1995 Childhood in Chemnitz and studies at the Weimar Art Academy 1893–1923 .
  2. ↑ Reinhold Lindner: A woman in the metal workshop - Marianne Brandt In: Britta Jürgs (ed.): From salt shakers to automobiles: Designers , Aviva Verlag, Berlin 2002, ISBN 3-932338-16-2 , p. 43.
  3. ↑ Ulrike Müller: Bauhaus women. Marianne Brandt . In: EMMA, September / October 2009.
  4. ↑ Olaf Arndt: The metal workshop . In: Jeannine Fiedler, Peter Feierabend (Ed.): Bauhaus . Krönemann, Cologne 1999, p. 433.
  5. ^ Anne-Kathrin Weise: Marianne Brandt. Life and work. Berlin 1995 collages .
  6. ↑ Charlotte Fiell & Peter Fiell (eds.): Design des 20. Jahrhundert, Cologne 2012, p. 127.
  7. ↑ see also: Gertrud Grunow and Anni Albers .
  8. ↑ Anja Baumhoff: Women at the Bauhaus - a myth of emancipation . In: Jeannine Fiedler, Peter Feierabend (Ed.): Bauhaus . Krönemann, Cologne 1999, p. 107.
  9. ^ Marianne Brandt: Letter to the Young Generation . In: Eckhard Neumann (ed.): Bauhaus and Bauhäusler. Memories and confessions. Bern 1971, new edition Cologne 1985, p. 158.
  10. ^ Ulrich Krüger: Leutzscher lights . In: Bauhaus lights? Candlelight! . Stuttgart 2003, p. 25.
  11. ↑ Olaf Arndt: The metal workshop . In: Jeannine Fiedler, Peter Feierabend (Ed.): Bauhaus . Krönemann, Cologne 1999, p. 434.
  12. ^ Based on the memory of Marianne Brandt. In: Jeannine Fiedler, Peter Feierabend (Ed.): Bauhaus . Krönemann, Cologne 1999, actually they are all crazy at the bauhaus - a collection of quotations , p. 175.
  13. ^ Ulrich Krüger: Leutzscher lights . 2003, p. 27 ff.
  14. ↑ Olaf Arndt: The metal workshop . In: Jeannine Fiedler, Peter Feierabend (Ed.): Bauhaus . Krönemann, Cologne 1999, p. 427.
  15. ↑ harvardartmuseums.org , accessed March 25, 2015.
  16. ^ Marianne Brandt photo collages ( memento from April 2, 2015 in the Internet Archive ), accessed on March 25, 2015.
  17. ↑ The Bauhaus and Photography. New exhibition is dedicated to early image recordings ( Memento from April 21, 2016 in the Internet Archive ) . Kandinsky / Klee Masters' House in Dessau, 2010.
  18. ^ See: Marianne Brandt. In: Anja Guttenberger: Photographic self-portraits of the Bauhaus members between 1919 and 1933. Dissertation, Berlin 2012, p. 99ff, online as a PDF file.
  19. ↑ a b Marianne Brandt , Bildatlas Kunst in der DDR , accessed on April 8, 2015.
  20. ↑ Ulrike Müller: Bauhaus women. Marianne Brandt . In: EMMA, September / October 2009.
  21. ^ Deutscher Werkbund NW: 1930: The exhibition in Paris ( Memento from June 17, 2016 in the Internet Archive ).
  22. ↑ Kletterer-Kunst, Lexikon, Ruppelwerk , accessed on December 2, 2014.
  23. ^ Anne-Kathrin Weise: Marianne Brandt. Life and work. Berlin 1995 cooperation with Schweizer Wohnbedarf AG .
  24. ↑ Biography ( Memento of the original from April 2, 2015 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / bauhaus-online.de archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Bauhaus online, 2016.
  25. ↑ Charlotte Fiell & Peter Fiell (eds.): Design des 20. Jahrhundert, Cologne 2012, p. 127.
  26. ^ Anne-Kathrin Weise: Marianne Brandt. Life and work. Berlin 1995. ( Online ) 1933-1948.
  27. ↑ stiftung-industrie-alltagskultur.de , accessed on April 6, 2013.
  28. ^ Anne-Kathrin Weise: Marianne Brandt. Life and work. Berlin 1995. ( Online ) 1949–1954.
  29. ↑ Speech by Mayor Barbara Ludwig at the award ceremony for the 3rd Marianne Brandt Competition on September 30, 2007 in the Chemnitz Opera House , accessed on April 8, 2015.
  30. ↑ Torsten Bröhan, Thomas Berg: Design Classics 1880–1930 . Taschen, Cologne 2001, p. 158.
  31. ^ Bauhaus exhibitions, Metall Collection 348 ( Memento from March 28, 2015 in the Internet Archive ), accessed on March 26, 2015.
  32. ^ Bauhaus exhibitions, Metall Collection 319 ( Memento from March 28, 2015 in the Internet Archive ), accessed on March 26, 2015.
  33. ↑ Sabine Grunwald: Bauhaus lights? CANDEM LIGHT! An illuminating exhibition , May 6, 2003, on AVIVA-BERLIN.de, April 2016.
personal data
SURNAME Brandt, Marianne
ALTERNATIVE NAMES Love, Marianne (maiden name)
BRIEF DESCRIPTION German painter, sculptor, photographer and designer
DATE OF BIRTH October 1, 1893
PLACE OF BIRTH Chemnitz
DATE OF DEATH June 18, 1983
Place of death Kirchberg (Saxony)