Bauhaus artists
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Troy Henriksen is an American visual artist of Norwegian origin. His optimistic style, close to free figuration, plunges into dreams, reflecting an imagination fed by memories and aspirations. Cities, cars, personalities: Marilyn Monroe, Arthur Rimbaud, the Indian Sitting Bull, Gandhi, James Dean... Allegories: hearts, or these same personalities who are each in their own way symbols. What they have in common: the brightness of the colours that make life so much more joyful.
His taste for painting comes from his childhood as an apprentice fisherman. On the water, the senses are in the foreground, Troy admires the sky, the sun. Back on dry land, he sees his fellow fishermen having fun painting on boat hulls. He became a long-distance fisherman until he was twenty-eight years old, when the desire for stability took precedence over adventure. After a few equivocal experiences with drugs, Troy rediscovers life in a new light. Thanks to... a can of yellow paint, lying there in his Boston flat.
From that moment on, Troy took a closer look at the history of painting: abstract exp
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Anni Albers
German-American textile artist (1899–1994)
Anni Albers (born Annelise Elsa Frieda Fleischmann; June 12, 1899 – May 9, 1994)[1] was a German-Jewish visual artist and printmaker. A leading textile artist of the 20th century, she is credited with blurring the lines between traditional craft and art.[2][3][4] Born in Berlin in 1899, Fleischmann initially studied under impressionist painter Martin Brandenburg from 1916 to 1919 and briefly attended the Kunstgewerbeschule in Hamburg in 1919. She later enrolled at the Bauhaus, an avant-garde art and architecture school founded by Walter Gropius in Weimar in 1922, where she began exploring weaving after facing restrictions in other disciplines due to gender biases at the institution.
Under the guidance of Gunta Stölzl, Fleischmann developed a passion for the tactile qualities of weaving, shifting her artistic focus from painting to textile art. In 1926, Fleischmann married fellow Bauhaus figure Josef Albers, taking on her husband's last name, and moved with the school to Dessau.
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Gerhard Marcks’ intense relationship with and knowledge of ancient Greek culture and art is well known and is also reflected in the Dornburg ceramics—for example, in the proportions and expressive silhouettes of vessels or decorations, whether with lines that support form or in archaically-styled figurative scenes. He also incorporated whimsical sayings common to traditional, domestic vessels. Thus, vessel-sculptures created in the Dornburg workshop exhibit a spectacular combination of traditional domestic vessel forms and decorative motifs—as well as a variety of international inspirations—in order to explore and experiment with changes in form. As demonstrations of artistic imagination and craftsmanship, their value lay in their perceptual properties rather than their practical use. This corresponded neither to the basic idea of Gropius, nor to how a conventional ceramic workshop is run. However, basic design knowledge and a thorough learning of the pottery trade—including turning, glazing and painting, as well as mastery of the kiln—was still imparted, forming the prerequisites
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