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Lyonel Feininger, Cathedral, 1919. This woodcut was printed on the title page of the Bauhaus Manifesto.
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Attributed to Johannes Auerbach, first Bauhaus seal, 1919. The style and imagery of this seal—chosen in a student design competition—express the medieval and craft affinities of the early Bauhaus.
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Johannes Itten and Friedl Dicker (1898–1944), page from Utopia: Documente der Wirklichkeit (Utopia: Documents of Reality), 1921. This is a page from an early Bauhaus publication.
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Oscar Schlemmer, later Bauhaus seal, 1922. Comparison of the two seals demonstrates how graphic designs express ideas; the later seal connotes the emerging geometric and machine orientation.
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Herbert Bayer, cover design, Staatliches Bauhaus in Weimar, 1919–1923, 1923. Geometrically constructed letterforms printed in red and blue on a black background are compressed into a square.
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. Joost Schmidt, Bauhaus exhibition poster, 1923. Echoes of cubism, constructivism, and De Stijl provide evidence that the Bauhaus became a vessel in which diverse movements were melded into new design approaches. This poster shows the influence of Oskar Schlemmer, then a master at the Bauhaus. The opening of the exhibition was postponed until August, and two pieces of paper were pasted on with the corrected dates. This example is the unaltered version.