Iwao yamawaki biography of abraham

Submit a memorial (including photos and video), search obituaries and write a remembrance through 's obituary directory. Watch an instructional video for submissions here.

Featured memorial

In the spring auctions from 1 to 4 June 2016, Grisebach is offering 1487 paintings, photographs, prints, sculptures and objects. The works are divided into six sections in eight catalogues: 19th Century, Selected Works, Modern Art, Adalbert and Thilda Colsman Collection, Contemporary Art, Photography, ORANGERIE and Third Floor. The median estimate for all works and objects up for auction is 19.5 million euros.

Art of the 19th century

The 19th century art department presents over 130 lots, including important works from the Rudolf Mosse and Eugen Roth collections.

The art collection of the Berlin newspaper publisher Rudolf Mosse was the first to be forcibly auctioned off by the National Socialists in 1934. After intensive negotiations, three major works from the collection were restituted from German and Swiss museums to the heirs of Rudolf Mosse and handed over to Grisebach by the Rudolf Mosse community of heirs.

These are important works of 19th century art that are now being auctioned at the Berlin auction house: Adolph Menzel's pastel "Emilie, the artist's sister, in a red blouse" (estimate € 300,000-400,000), Wilhelm Leibl's "Portrait of the Councillor of Appeal Stenglein" (€ 120,000-150,000) and Ludwig von Hofmann's "Spring Storm" (€ 200,000-300,000), one of the central paintings of German Art Nouveau.

Eugen Roth (1895-1976) was not only a renowned poet who is particularly famous for his "Ein Mensch" poems. He also obsessively collected 19th century drawings throughout his life. They lay untouched in Eugen Roth's graphics cabinet for many years. Grisebach will be auctioning a large group of important early Romantic prints from his estate (estimated prices between € 1,000 and € 30,000).

Selected Works, Modern Art and
Special Catalogue Colsman Collection

In a special catalogue for the spring auctions, Grisebach is bringing together 20 works f

Bauhaus Architecture

Bauhaus building in Dessau

The third film of the series “How do we live healthily and economically?” provides a glimpse inside one of the single-family “Master Houses”, the private home of the first Bauhaus director, Walter Gropius, in which the designed interior is seen as a space of gendered subjects and practices.

“DAS BAUHAUS IN DESSAU UND SEINE BAUWEISE” (The Bauhaus in Dessau and its construction methods) • 1926 • Film, 12 min. 15 sec. • Bauhaus-Archiv Berlin

With its light-flooded windows, whitewashed facade, steel structure and flat roof, the Bauhaus building in Dessau quickly became an epitome of modern architecture. The floating lightness of the building emerges from the balance of materials, and its composition is reflected in the division of spaces designated for workshops, living quarters and studying.

MODEL OF THE BAUHAUS BUILDING IN DESSAU • 1925/26 (design), 1994 (model) • Wood, plexiglass, cardboard, glue • Stiftung Bauhaus Dessau

ELEVATIONS OF A PROPOSAL FOR A COLOURED FAÇADE OF THE DESSAU BAUHAUS BUILDING • Hinnerk Scheper, ca. 1924–1926 • Tempera over blueprint, collage (reprint) • Bauhaus-Archiv Berlin, permanent loan from the Scheper Estate

In designing the Bauhaus Dessau building the director of Bauhaus, Walter Gropius, extended his understanding of modern architecture to include the interior, which was conceived to integrate with the building’s exterior.

1 RECONSTRUCTION OF A BLANKET, DESIGNED FOR THE DORMITORY-SLEEPING ALCOVE AT BAUHAUS DESSAU • Gunta Stölzl • 1926/2000 (reconstruction) • Viscose, cotton • Stiftung Bauhaus Dessau

2 MURAL COLOUR-SAMPLES FOR THE BAUHAUS BUILDING DESSAU • 1925–1926 • Paper • Wils Ebert Estate, Bauhaus-Universität Weimar, Archiv der Moderne

3 TRIOLIN FLOORING FROM THE BAUHAUS DESSAU BUILDING • 1926 • Triolin, jute • Stiftung Bauhaus Dessau

4 MAN AT THE INFORMATION BOARD AT BAUHAUS DESSAU • Iwao Yamawaki • ca. 1930–1932 • Photograph (reprint) • Stiftung Bauhaus Dessau

Trade

Given his political background, it should not be astonishing that Bauhaus students reported how under Meyer they participated in discussions on diverse topics, followed class meetings in all workshops, and that the relationship between teachers and students became more cooperative. In his final vision, Meyer strived for an autonomous school of pupils—an idea of micro-political liberation and institutional critique with origins in anti-authoritarian branches of reform pedagogy and the cooperative movement. This orientation was also reflected in the School’s expanded guest lecturer program. When Meyer introduced additional courses from other fields of knowledge—such as philosophy, sociology, and the natural sciences—expanding the range of the curriculum and making it more horizontal, the Bauhaus masters arose in protest again. Meyer had also started to collaborate with colleagues outside the Bauhaus: the Czech functionalist and poet Karl Teige was a frequent visitor (the weaver Otti Berger’s text, “Stoffe im Raum,” was published in RED, Teige cultural journal); Mart Stam received a teaching assignment; Austro-Marxists such as Otto Neurath were invited to lecture; as was Graf Dürkheim, who lectured on anthroposophy. The Bauhaus remained polyphonic under Meyer but also more collective, egalitarian, and polytechnical.

In the design and building process that went into the balcony houses in Dessau and the Federal Trade Union School in Bernau, students from various years worked together in so-called “vertical brigades.” All workshops were now open to women, who were also free to work at construction sites. Students were involved in researching the spatial, topographical, and social conditions of individual sites, and introduced to ideas then circulating internationally on the topic of urban planning and housing development. Investigating context and process was foregrounded, including considerations of climate factors in the landscape and the study of the usage and li