Mikromarc websearch

*00000820nam a22002893  45
*0012268
*007|||||||||||||||||||||||
*008110824s1993           e     |||  ||eng||
*020  $a0-500-23658-5  :$c24.95 : CIP entry (Sept.)
*035  $a(Ko)2441
*084  $aIhca-fa.5
*1001 $aWeltge-Wortmann, Sigrid
*24510$aBauhaus textiles :$bwomen artists and the weaving workshop  /$cSigrid Wortmann Weltge
*260  $aLondon ;$a1993 :$bThames & Hudson ,$ccop. 1993
*300  $a208 s.  :$bill.
*653  $aBauhaus
*653  $aTextil konst
*653  $aVävnader
*653  $a1900-talet
*653  $aTyskland
*697  $cVävnader: Tyskland: 1905-
*8520 $cTEXTIL - Ihca
*900  $aWortmann, Sigrid Weltge
*900  $a100
*950  $aTextile art
*950  $aVävning
^

The place of the Bauhaus in the history of 20th-century design is unchallengeable. Yet the Weaving Workshop, the longest standing and most successful of all Bauhaus workshops, has been neglected. Why? For one simple reason - its artists were almost all female. When these brilliantly talented women arrived at the school, they soon found that Gropius could not sustain his ringing declaration of equality between the beautiful and the strong gender. Textiles were to be women's work.