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Resumen de Oskar Schlemmer's 'Bauhaustreppe', 1932: part I

John-Paul Stonard

  • The first part of a two-part article on Oskar Schlemmer's 1932 painting Bauhaustreppe. Schlemmer's last major painting, Bauhaustreppe was an extraordinary synthesis of his work as a choreographer, easel- and wall-painter, and theoretician. It capped the development of what Schlemmer called a “grand figural style”—a classical, monumental approach to the human form that he had been developing over the course of the 1930s. The prevalent notion of the creation, display, and sale of Bauhaustreppe as an act of resistance to Nazism is insufficient, and a full understanding of the work must also take into account its creator's affinity with nationalist politics, his “reactionary modernism,” and the contradictions of his relations with Nazism throughout the 1930s, as well as his difficult relationship with the Bauhaus school, an architectural detail of which provides the subject matter for the painting.


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