Marni Muir Art History 484 Marek Wieczorek December 2, 2014 ALMA BUSCHER-SIEDHOFF THE INFLUENCE THE DE STIJL SCHOOL OF ART & THOUGHT ON HER WORK AT THE BAUHAUS ___________________________________________________________ INTRODUCTION Like the De Stijl and The Bauhaus schools of art and thought, had a comparatively short period of visible, productive work. Almaf was born Alma Buscher on 4 January 1899 in Kreuztal near Siegen (Germany) Hereafter I refer to her as Buscher-Siedhoff. Her eleven years of schooling in Berlin, which she completed with the certificate of eligibility for university entrance in 1916, were initially followed by her education at the Elisabeth School for Women in Berlin and studies at the Reimann School from 1917 to 1920. Buscher Siedhoff studied until Easter 1922 at the training institute of the State Arts and Crafts Museum of Berlin. She then entered the Bauhaus and initially attended the preliminary course taught by Johannes Itten and classes by Wassily Kandinsky and Paul Klee. In October, she was accepted to the weaving workshop with Georg Muche and Helene Börner. In1923, she switched to the wood sculpture workshop under the direction of Muche and Josef Hartwig.” 1 Buscher-Siedhoff moved with the Bauhaus from Weimar to Dessau in 1925 and in 1926 married Werner Siedhoff associated with the Bauhaus theatre. She was active as a student and later an employee at Bauhaus until 1928. From 1925 through her departure in 1928 Buscher-Siedhoffwas in constant state of conflict with the Bauhaus regarding patents for her designs, their commercial sales, and what share she would have, if any, from the sale of her designs. 2 1923: www.bauhaus-online.de
Transcript
Marni Muir Art History 484 Marek Wieczorek December 2, 2014
ALMA BUSCHER-SIEDHOFF THE INFLUENCE THE DE STIJL SCHOOL OF ART & THOUGHT
ON HER WORK AT THE BAUHAUS ___________________________________________________________
INTRODUCTION
Like the De Stijl and The Bauhaus schools of art and thought, had a comparatively short period
of visible, productive work. Almaf was born Alma Buscher on 4 January
1899 in Kreuztal near Siegen (Germany) Hereafter I refer to her as
Buscher-Siedhoff. Her eleven years of schooling in Berlin, which she
completed with the certificate of eligibility for university entrance in 1916,
were initially followed by her education at the Elisabeth School for Women
in Berlin and studies at the Reimann School from 1917 to 1920. Buscher
Siedhoff studied until Easter 1922 at the training institute of the State Arts
and Crafts Museum of Berlin. She then entered the Bauhaus and initially
attended the preliminary course taught by Johannes Itten and classes by Wassily Kandinsky and Paul
Klee. In October, she was accepted to the weaving workshop with Georg Muche and Helene Börner.
In1923, she switched to the wood sculpture workshop under the direction of Muche and Josef
Hartwig.”1
Buscher-Siedhoff moved with the Bauhaus from Weimar to Dessau in 1925 and in 1926 married
Werner Siedhoff associated with the Bauhaus theatre. She was active as a student and later an employee
at Bauhaus until 1928. From 1925 through her departure in 1928 Buscher-Siedhoffwas in constant state
of conflict with the Bauhaus regarding patents for her designs, their commercial sales, and what share
she would have, if any, from the sale of her designs. 2
1923: www.bauhaus-online.de
Moving frequently due to her husband’s itinerant drama and dance work, and her family were
frequently faced with financial difficulties. She died September 25, 1944 in a bombing raid on a suburb
of Frankfurt am Main where she and her family were living at the time. Notable were words in a letter
to her son, Joost Siedhoff, by this time a well-known actor, “No, I am not the least bit bitter. I think
bitterness is stupidity. In every dreary time there are also cheerful hours, and you should take it.” 3
THESIS
Hundreds have researched and written on the relationship between the De Stijl school of Dutch
art and thought and its relationship to the Bauhaus. Many have researched and written on the
relationship between specific individuals in the De Stijl and those associated with Bauhaus. Some have
even researched the person I have chosen for this paper, but none have researched and written
specifically about Buscher-Siedhoff and the influence of the De Stijl on her work. In this paper I argue
that the Dutch school of art and thought known as De Stijl (the style) had a significant influence on the
thinking and artistic output of .
There is no known personal account by Buscher-Siedhoff acknowledging the De Stijl influence.
However, I will demonstrate the influence of De Stijl on Buscher-Siedhoff through the chronology of
events in her life at The Bauhaus and key elements of De Stijl’s influence during that period. I will
document the evident similarities in the design and color styles of De Stijl and Buscher-Siedhoff .
Finally, I will demonstrate the affirmation by third party art authorities of the influence of De Stijl on
Buscher-Siedhoff.
I believe my case meets the test of credibility when evaluated by the following definition:
“Circumstantial evidence is evidence that relies on an inference to connect it to a conclusion of fact—
like a fingerprint at the scene of a crime. By contrast, direct evidence supports the truth of an assertion
directly—i.e., without need for any additional evidence or inference. On its own, circumstantial
evidence allows for more than one explanation. Different pieces of circumstantial evidence may be
required, so that each corroborates the conclusions drawn from the others. Together, they may more
strongly support one particular inference over another. An explanation involving circumstantial
evidence becomes more likely once alternative explanations have been ruled out. Circumstantial
evidence allows a trier of fact to infer that a fact exists.”
Buscher-Siedhoff ’s initial 4-5 years at Bauhaus correlates with the period when the De Stijl
movement had its greatest presence at Bauhaus – in the form of some of its key leadership (van
Doesburg, J.J.P. Oud, etc.) and the thought input of others such as the iconic Piet Mondrian. I pick up
this line of thinking again in the section “Third Party Art Authority Affirmation” in which Dr. Amanda
Boyaki suggests the special influence of De Stijl on Marcel Breuer and Lazlo Moholy-Nagy – both of
whom Buscher-Siedhoff worked with and looked to for guidance.
This table is not meant to be comprehensive, only suggestive, providing highlights of this De
Stijl/Bauhaus relationship and correlating those factors with key markers in Buscher-Siedhoff ’s
personal artistic journey. The years of particular interest have been highlighted.
(Information provided here is sourced primarily from www.bauhausonline.org and the BUSCHER-SIEDHOFF biographical information provided at the web site, www.fembio.org (German and English sites.)
YEAR DE STIJL & BAUHAUS
1921 Theo van Doesburg arrives Weimar to lecture & write for 19 months
1922 � van Doesburg directs Dadist & Constructivist Congress. Among attendees Laszlo Moholy-Nagy.
� van Doesburg publishes De Stijl “Manifesto” (First appeared 1918).
� “De Stijl” Magazine edited/published in Weimar from June 1922
� Arrives/accepted as student at Bauhaus. � Takes preliminary course under Johannes Itten
with classes by Klee and Kandinsky. � Initially assigned to weaving workshop
1923 � Bauhaus Exhibition August-September at which J.J. P. Oud, a leading De Stijl voice is a key speaker and exhibitor.
� Haus Am Horn produced in four months as a centerpiece for the Bauhaus Exhibition.
� Moholy-Nagy takes over the preliminary course.
� Moves from weaving to woodworking workshop. � Despite limited time at Bauhaus, Buscher-Siedhoff
chosen to design Haus Am Horn children’s room furnishings in connection with Bauhaus Exhibition.
� Buscher-Siedhoff participates in Ludwig Hirschfeld-Mack’s Color-Light Games.
� Begins creation of children’s toys such as the Small Ship-Building Game and a puppet theatre.
1924 � A year of intense turmoil at Bauhaus due to political tensions.
� December a decision is reached that Bauhaus will close April 1, 1925.
� “Friends of Bauhaus” formed for support.
� Bauhaus Ltd. formed for commercial marketing of products (including BUSCHER-SIEDHOFF ’).
� Zeiss Kindergarten in Jena equipped with furniture designed by Buscher-Siedhoff .
� Buscher-Siedhoff’s toy and furniture designs presented at the exhibition during the Fröbel Days in Jena.
� Buscher-Siedhoff’s furniture & toys also on display at Weimar’s Youth Welfare Exhibition in Thuringia.
1925 x Bauhaus opens in Dessau in March x Marcel Breuer leads carpentry
workshop x “Bauhaus Books”(Bauhaus Bucher) is
launched. Two 1925 books prominently featuring, De Stijl leaders van Doesburg and Mondrian.
x Two versions of the “Shipbuilding Game” were available; one large with 39 pieces and a smaller one with 22 brightly painted blocks.
x Buscher-Siedhoff moves to Dessau continues both as a student and producer of products sold by Bauhaus Ltd. or other German manufactures.
1926 x J.J. P. Oud Bauhaus Bucher book on Dutch architecture appears.
x Gropius-designed new Bauhaus building opens December 4.
x Bauhaus quarterly publication is launched and operates through 1929.
x Buscher-Siedhoff participates with her works in the exhibition called The Toy in Nuremberg.
x Buscher-Siedhoff marries actor and dancer Warner Siedhoff who is associated with the Bauhaus theatre.
1927 x Buscher-Siedhoff becomes employee of Bauhaus. x Designs cut-out kits and coloring books for the
publisher Verlag Otto Maier Ravensburg. 1928 x Buscher-Siedhoff active association with Bauhaus
ends. x Various German manufacturers continue to
reproduce and sell her toys into the 1930s
Further evidence of De Stijl influence during Buscher-Siedhoff ’s years at The Bauhaus are evident in
these graphic images: Three issues of the “Bauhaus Bucher” series of books – from 1925/26:
Bauhaus Bucher 5 1925 Bauhaus Bucher 6 125 Bauhaus Bucher 10 126 Content by Piet Mondrian Content by Theo van Doesburg & Content by J.J.P. Oud
Laszlo Moholy-Nagy
(Source for all book covers: http://thecharnelhouse.org/2014/05/21/bauhausbu%CC%88cher-covers-%E2%84%96-i-xiv-1925-1930/ )
A particularly telling picture suggesting the relationship during the period between and the key,
De Stijl influenced Bauhaus leaders is this 1923 picture of Buscher-Siedhoff in front of the Haus Am
Horn with Lazlo Moholy-Nagy. (See observations about Lazlo Moholy-Nagy by Dr. Amanda Boyaki in
the later section, titled “Third Party Art Authority Affirmation.”)
Buscher-Siedhoff Buscher and Lazlo Moholy-Nagy in front of the Haus am Horn, Weimar. Bauhaus, 1919-1933 , Magdalena Droste, bauhausarchiv museum für gestaltung, berlin d-10785 pp 106
SIMILARITIES IN PHILOSOPHY
Dr. John W. Nixon (Department of Art, The Council For the Curriculum Examinations and
Assessment, Northern Ireland), in his paper on the De Stijl movement provided a unique perspective in a
chart he developed in which he summarized what he called the “Tendencies” of the movement. When I
compared the designs and work produced by Buscher-Siedhoff with his list of De Stijl “tendencies” I
felt they had a striking similarity. Here is Dr. Nixon’s summary:
De Stijl General Tendencies
FAVOURING AGAINSt
Universality Individuality
Depersonalization Personalization
Mechanical Perfection Craftsmanship
Plasticism/Buscher-
Siedhoff traction
Representation
Purity Variety
Formal/Geometric Natural/Organic
Order Chaos
Formal Relationships Narratives
Positive and Negative Positive Only
Asymmetry Symmetry
De Stijl: An Overview by John W. Nixon CCEA GCE HISTORY OF ART 20521u.doc: first published 2004; revised 2007 http://www.rewardinglearning.org.uk/common/includes/microsite_doc_link.aspx?docid=8977-1
While such assessment is, at best, subjective, I would give ’s work an “alignment” score of 8 out
of the 10 ‘tendencies’ that Dr. Nixon suggests. I believe it is another striking correlation of Buscher-
Siedhoff’s affinity with De Stijl from a completely different perspective by a third party.
The only known comment on design philosophy by Buscher-Siedhoff, personally, is the
following from one of her diary entries in which she rather dramatically writes: "Yesterday Moholy-
Nagy held a talk about the Renaissance to the present, to Constructivism. Thoroughly interesting. So
now I will throw out my Constructivist paintings as opposite of the talk, (ice cold, a clear intellectual
feeling to me, even something other and more)." She goes on to describe Constructivism as remaining
"all clear, a mathematical solution to the chaos of the times providing the single, correct solution." 4
AFFINITY IN DESIGN & COLOR
The vision for my thesis regarding De Stijl and was considerably sharpened when I saw these
two pieces of work side by side. One by the principal founder and possibly most vocal evangelist of the
De Stijl movement, Theo van Doesburg. The other by the object of this paper, Buscher-Siedhoff.
Theo van Doesberg “Dance” 1916-17, Stained Glass Elements of “Ship Game” 1923 http://commons.wikimedia.org http://artsandcrafts.guidestobuy.com/bauspiel
Strikingly, as a student of Kandinsky, her work favors the De Stijl colors and shapes in contrast to
Kandinsky’s color/shape theories.5 Then there are these images.
Both Images: NAEF Toys (Switzerland) Puppet Theater Buscher-Siedhoff ’s Famous Ship Game https://shop.naefusa.com/ design circa 1924 reproduction 1997 2.bp.blogspot.com
Anscombe, Isabelle. (1984) A woman’s touch: Women in Design from 1860 to the present day New York: Viking Penguin Inc.
Crother, Paul and Wunsche, Isabel (2012) Meanings of Buscher-Siedhoff tract art, between nature and theory Routledge. New York London
Muller, Ulrike (2009) Bauhaus Women, art, handicraft, design Sienbenbrodt and Schobe, Lutz (2009) Bauhaus 1919-1933, Weimer, Dessau, Berlin
Van Gogh to Mondrian: Modern art from the Kroller-Muller Museum High Museum of Art, Atlanta
Whitford, Frank (1984) Bauhaus London: Thames and Hudson
Dissertation: Boyaki, Amanda: Buscher-Siedhoff Buscher- Siedhoff: An Examination of Children’s Design and
Gender at the Bauhaus During the Weimar Period (PhD Dissertation, Texas Tech University, 2010)
On-Line Sources: http://bauhaus-online.de/en/atlas/personen/Buscher-Siedhoff -siedhoff-buscher Bauhaus: atlas, magazine, calendar – the Bauhaus locations, years, names, works (2014) Foundation of Weimar Classics Bauhaus Dessau Foundation Bauhaus archive Berlin
http://www.jstor.org/discover/10.2307/40663141?uid=3739256&uid=2129&uid=2&uid=70&uid=4&sid=21104975137413 Baumhoff, Anja (2001) The Gendered World of the Bauhaus: The politics of power at the Weimar Republic’s Premier Art Institute 1919-1932 Admitted.: Baltimore, Univ, Diss Frankfurt am MainLong. ISBN 3-631-37945-5. 187pp 10 b/w illustrations
http://www.moma.org/interactives/exhibitions/2012/centuryofthechild/ Magill, Lee (2012) MoMA debuts its new museum exhibit (2012) “Century of he Child: Growing by Design, 1900-2000”.
http://www.jstor.org/stable/1511480 Design Issues > Vol. 3 No. 2, Autumn, 1986 > Made in Patriarchy Published by: The MIT Press Article DOI: 10.2307/1511480
http://www.docstoc.com/docs/163159780/Women-of-the-Bauhaus Brodie, Laura (2013) Women of the Bauhaus 9 page essay
http://www.moma.org/collection/object.php?object_id=83981 Buscher-Siedhoff Buscher’s Ladder Chair for Children’s Room 1923-1925 Gelatin Silver Print 6 9/16 x 8 3/8 Designed by Credit Line: Thomas Walther Collection, Gift of Thomas Walther MoMA Number: 1647.2001 (2014) Estate of Buscher-Siedhoff Siedhoff-Buscher/Artists Rights Society, (ARS) New York/VG Bild-Kunst, Germany
