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	title of this thread your message In reading again my earlier replies, I realize how inadequate my English usually is. I am sorry for that. I understood the original question asllows : Is there a relationship between the Bauhaus and the Wiener Werkstätte and if there is, which one. We all know, I guess that there is a visible influence on the Bauhaus. No matter the deep differences in ideology, the Bauhaus could not ignore the strong and earlier productions of the crafts people gathered in the Wiener Werkstätte. What I tried to point out is that they were ideologically very far from each other and Gropius went to great length to ignore them and to make sure that they had no influence on what was happening in the Bauhaus. In spite of being recommended by Van De Velde, who held the position of director of the Kunstgewerbeschüle Weimar until Gropius took over, and in spite of Gropius' letters to Van De Velde supporting him in his differences with Hermann Muthesius of the Deutsche Werkbund, Gropius was very keen on eliminating any remaining influence of the English Arts and Crafts Movement (that Van de Velde had brought to Weimar) from the Bauhaus. The Wiener Werkstätte was one of the results of the continental influences of the Arts and Crafts movement and Gropius was for his own good reasons very suspicious of both the anti-industrial attitude of the Arts and Crafts movement and of the bio-morphic form language it had produced on the continent (Art Nouveau and Jugend Stil) He kept insisting during the meetings of the Meisters (masters) on finding staff amoung those artists that where clearly looking for an abstract form language (hence the hiring of painters like Johannes Itten who so clearly had cut himself off from his expressionist Suisse roots, Kandinsky, Feiniger and Klee, and later Itten's student at the Bauhaus also with a painter's background: Joseph Albers) All of them had two things in common: They were all painters (a strange choice for a school with a Bauhaus manifest as basis) and they all had turned away from earlier influences, mainly expressionist, toward more and more abstraction. Gropius was quite confident that he had found the key to a new form language and that it had to come from what he considered the most vital of the arts at that point in time: painting. Even if I would love to, I can not see the link to a completely differently oriented Wiener Werkstätte, who was ideologically fighting Adolf Loos on their home ground and a lost battle for the preservation of the crafts in the Austrian Hungarian Empire, in the midst of what Robert Musil described as the fast decline of patriotism of the German Austrians that would eventually become the basis for the "Ansluss". associated web images (optional) associated web link (optional) your email your password create a forums account \| you forgot your password?