Oskar Schlemmer was born on September 4, 1888, in Stuttgart. He was a painter, sculptor, and stage designer. He had a particular affinity for depicting human figures in space, especially in stereometric representations and interlocking groups of figures.
Schlemmer initially attended the School of Arts and Crafts, but left after one semester to study at the Stuttgart Academy of Fine Arts in the fall of 1906. There, he met his lifelong friend Otto Meyer-Amden, as well as Willie Baumeister and Alf Bayrle. He attended the master class at Friedrich von Keller's composition school with Meyer-Amden. Subsequently, Schlemmer moved to Berlin, where he studied the formal analysis of Cubism and the French avant-garde. In 1913, he became a master student under Adolf Hölzel in Stuttgart, where his love for designing stage sets developed, partly through a friendship with a dancer couple.
During World War I, Oskar Schlemmer volunteered for military service but was discharged after an injury. He returned to painting and founded the Üecht Group, which advocated for a reform in art education and strongly supported the appointment of Paul Klee to Stuttgart.
In 1920, Schlemmer married Helena Tutein, and they had three children together. That same year, he was called to the Bauhaus by Walter Gropius, where he took over the wall painting workshop before later transitioning to wood and stone sculpture (form master). After the Bauhaus relocated to Dessau in 1925, Schlemmer also took over as head of the Bauhaus stage department. During this time, Schlemmer's Bauhaus dances were created, each showcasing a specific material and its scenic possibilities (e.g., the Stick Dance or Hoop Dance). Schlemmer established the subject "The Human Being" and took on many teaching assignments at the Bauhaus until he left it in the summer of 1929.
Schlemmer's style and motifs were diverse, and the degree of abstraction in his works constantly changed. However, he was always interested in puppet-like and mask-like representations of people. In 1916, he created the painting "Homo," which, as a basic figure in profile, repeatedly appeared in his works. In 1923, inspired by the complex Bauhaus idea, Schlemmer's most famous works were created. Freed from embellishments, his paintings focused on figurative representation, and the back view for which Schlemmer became known appeared for the first time (Table Society, 1923). Stair and railing motifs first emerged in 1931 (Group at the Railing), where figures rhythmically connect in a grid-like, staggered, and overlapping manner with the structure of the railings. Psychologically, the railing is considered a support and organizing principle, a means of discipline, and stands in contrast to the chaos and decay that were omnipresent in the political years of the 1930s. "We need number, measure, and law as armor and armament to avoid being engulfed by chaos," Schlemmer once said. The work Bauhaus Stairway (1932) became a symbol of the youth cult movement of the 20th century.
With Hitler's rise to power in 1933, Oskar Schlemmer's years of mental darkness began. His paintings also grew darker, depicting threatening scenes that reflected his mental state. He died at the age of 54 on April 13, 1943, in Baden-Baden.
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