| Abstract | Rad je posvećen umjetničkom značaju i djelu Marianne Brandt, koja je bila njemačka dizajnerica, fotografkinja i slikarica.
Rođena je na prijelazu XIX. na XX. stoljeće zbog čega je doživjela mnoga politički nestabilna vremena u Njemačkoj gdje je živjela većinu života. Živjela je i djelovala za vrijeme moderne, u čijem duhu je izradila sva svoja značajna djela; u dizajnu, fotografiji i fotomontaži. Pridružila se Bauhausu, najznačajnijoj europskoj školi za dizajn i arhitekturu koja je unaprijedila zastarjelo školovanje na umjetničkim akademijama XX. stoljeća te izgradila mnoge vrsne umjetnike moderne.
Bauhaus je bio među prvim školama koje su primale žene, što je bio velik napredak za jednakost spolova, ali su ipak tokom postojanja Bauhausa žene još uvijek bile raspoređene na niže položaje te su imale manje prilika za napredovanje. Unatoč tomu, neke su se uspjele proslaviti zahvaljujući svom talentu, kao Marianne Brandt.
Brandt je karijeru počela kao slikarica, za što se i školovala u Weimaru, a dolaskom na Bauhaus je proširila područje rada na dizajn metala, fotografiju i fotomontažu, što ju je kasnije i proslavilo. Djelovala je u Metalskoj radionici, gdje je napredovala do mjesta voditeljice. Bila je jedina žena koja je dobila diplomu te radionice. Tokom dvadesetih godina XX. stoljeća je Brandt upravo u toj radionici dizajnirala brojne metalne predmete, čajnike, pepeljare, posude i lampe, a koji su postali ikone modernizma i Bauhaus dizajna. Istovremeno se bavila fotografijom te fotomontažom, gdje je bila među pionirima djelovanja u tom mediju.
Brandt se nakon Bauhausa kratko nastavila baviti dizajnom, ali nije imala puno sreće s nalaženjem posla u struci u vrijeme nacističke vladavine te se vratila ekspresionističkom slikarstvu i fotografiji, gdje je imala više prostora za istraživanje. Nije postigla veće uspjehe u tom razdoblju.
Poslije rata joj je trebalo mnogo vremena za oporavak, obnavljala je srušenu obiteljsku kuću te je dosta svojih dizajnerskih radova izgubila u ratnim bombardiranjima Chemnitza. Razdoblje djelovanja u Istočnoj Njemačkoj je također bilo teško za nju, ali je pedesetih godina XX. stoljeća dobila priliku raditi kao predavačica na Hochschule fur bildende Kunste u Dresdenu te kasnije na Hochschule fur angewandte Kunst u Berlinu, čime je dobila priliku vratiti se dizajnu te ostvariti utjecaj na studente novih generacija, buduće dizajnere. Nakratko
se u tom razdoblju bavila i fotomontažom, ali bez značajnijih uspjeha. Krajem života se vratila u Chemnitz gdje je surađivala s brojnim dizajnerskim tvrtkama.
Marianne Brandt, unatoč teškim razdobljima, ostavila je iza sebe brojna značajna djela koja se danas smatraju klasicima dizajna moderne, ponajviše nastala na Bauhausu u Metalskoj radionici, ali uspješna je bila i na području fotografije i fotomontaže. Njeni slavni metalni dizajnerski predmeti utjecali su na brojne dizajnere poslije nje te je svojim radom kao profesorica postala mentorica skupini vjernih studenata koje je pomogla oblikovati u vrsne dizajnere nove generacije. |
| Abstract (english) | This work is dedicated to artistic significance and work of Marianne Brandt, a German designer, photographer and painter.
She was born during the transition from 19th to 20th century and because of that she lived through the many politically unstable periods in Germany, where she lived most of her life. She lived and worked during the modern period and all of her infuential works in design, photography and photomontage are classic examples of modern art. Brandt was part of Bauhaus, the most important European school of design and architecture which advanced old art school's methods of education during the 20th century and gave the world many great modern artists.
Bauhaus was among the first schools which accepted female students, what was a big step for gender equality, but during the Bauhaus period women were still appointed to lower positions and they didn't have many opportunities for moving on. Regardless, some of them managed to succeed thanks to their talents, like Marianne Brandt.
Brandt started her career as a painter, for which she previously studied art in Weimar, but when she came to Bauhaus she broaden her area of work to metal design, photography and photomontage, which later made her famous. She worked in the Metal Workshop where she got promoted to the position of acting director and she was the only woman who graduated in the Workshop. During the 1920s she designed many metal objects in the Workshop; teapots, ashtrays, vessels and lamps that became icons of modernism and Bauhaus design. At the same time she was engaged with photography and photomontage, the medium in which she was pioneer.
After Bauhaus for a short period of time she continued her work in design but she didn't have much luck with finding job during the nazi period so she had to return to expressionist painting and photography in which she had more space for experimenting. She wasn't very successful during this period.
After the war, she needed a while to recover. She was renovating her family house and she's lost a lot of her works during the war bombings of Chemnitz. The East Germany period was also hard for her, but during the 1950s she got the chance to work as a professor on Hochschule fur bildende Kunste in Dresden and later on Hochschule fur angewandte in Berlin, which gave her a chance to return to design and to make an impression on her
students, the future designers. She made a few photomontages in that period, without significant success. Late in her life she returned to Chemnitz where she worked as a freelance designer for few companies.
Marianne Brand, despite numerous difficult periods, made many significant works which are now considered the classics of modern design, especially those created during her Bauhaus period in the Metal Workshop, but she was also successful on the area of photography and photomontage. Her famous metal designs influenced many designers after her, and during her work as a professor she became a mentor to a loyal group of students whom she helped to become the great designers of the new generation. |
