Cover of Bauhaus journal No. 2/3 1928
Left to right from top:
1st row: Wassily Kandinsky, Lyonel Feininger, Paul Klee
2nd row: Hannes Meyer, Hinnerk Scheper, Josef Albers
3rd row: Joost Schmidt, Gunta Stölzl, Hans Wittwer
4th row: Ernst Kallai, Oskar Schlemmer, Mart Stam
In the Style of Bach
In 1920, Klee was appointed to the Bauhaus faculty, and it was here, surrounded by the avant-garde in architecture, art, crafts and theatre, that his interest in and love of classical music and painting started to fuse. In his early paintings, he attempts to solve structural affinities between painting and music. The In the Style of Bach painting is conceived as a musical score with its implied linearity, and with plants, symbols and signs used as fermatas and musical pauses. The depicted visual rhythm becomes the percussive rhythm of a musical composition, similar to the polyphonic structures of the fugues of Johann Sebastian Bach — Bach, the master of counterpoint.
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