Biography of Gertrud Arndt

Gertrud Arndt Gertrud Arndt (1903–2000) was a pioneer in many respects. This Bauhaus student asserted herself in the male-dominated fields of design and photography. Her work in photography, design, and textile art broke down the boundaries of traditional gender roles and remains emblematic of the rebellion against gender stereotypes. This achievement and her legacy live on in her works and the influence Gertrud Arndt had and continues to have on subsequent generations of female artists and designers. Designs by Gertrud Arndt still in production today are design classics that not only look good but also bring a part of design history to life.

Early life and education (1903-1922)

Gertrud Arndt was born on March 18, 1903, in Ratibor, Upper Silesia – now Poland. Her interest in art and design was evident early on, so in 1921, after graduating from high school, Arndt moved to Erfurt to study at the School of Applied Arts, also known as the Hügelschule. Here her artistic development began, as she was able to explore various artistic forms of expression. It was here that Arndt discovered her passion for photography, a subgenre of fine art.

Photography and Gender Roles (1927-1933)

Gertrud Arndt made a name for herself as a photographer in the late 1920s. Her focus was on depicting women and their social roles, a theme she encountered daily. Her work is characterized by openness and an open mind towards her subjects, as well as curiosity about the constantly evolving technology of photography. Through innovative techniques and staging, Arndt portrayed women in a way that challenged traditional gender stereotypes and broke with the prevailing expectations of photography at the time.

The new woman

Her "Mask Portraits," created in 1929, are considered works from this period. The series of photographs depicts women posing with abstract masks. In this way, the multifaceted nature of female identity is explored and emphasized. Arndt: "What is one? Perhaps one always has a mask. Somewhere, one always has an expression one wants to have. One could call that a mask, couldn't one?" Her photo series "The New Woman," created the following year, also addresses the changing role of women in society after the First World War and captures this in the form of photographic portraits.

The birth of the selfie

Today, you see people everywhere with smartphones in their outstretched hands or armed with selfie sticks, taking selfies. In Gertrud Arndt's time, the designer was considered an absolute pioneer in this field – the inventor of the photographic self-portrait, if you will.

The Bauhaus decade (1923-1933)

But before that, Gertrud Arndt was part of the Bauhaus movement for a decade. In 1923, she moved from Erfurt to Weimar, only about 23 kilometers away. At the Bauhaus – first in Weimar, later in Dessau – Arndt completed a three-year apprenticeship as a weaver, graduating with a journeyman's certificate. During this time, the Bauhaus carpet No. 1, which was only produced once by her in 1924 and was presented on the occasion of the Bauhaus anniversary in 2019 by Designer carpets It is being knotted under license for the first time. The Bauhaus Carpet No. 2 is also produced today in this way, based on the original wool patterns. Their famous knotted carpet once adorned the study of Bauhaus director Walter Gropius. Both Carpets are hand-knotted according to the requirements of Arndt's unique pieces and are in their original form at TAGWERC available.

Passion and thirst for knowledge

Even though her weaving works have garnered recognition, Arndt, who originally wanted to be an architect, turned away from "all these threads" (Arndt's words) and towards photography. Arndt experimented with various media and, driven by her passion for the medium and guided by her autodidactic thirst for knowledge, developed a unique photographic language that has continued to evolve over the years.

Role of women

Some of her most acclaimed photographic works were created at the Bauhaus, such as the 1927 "Self-Portrait with Camera," which emphasizes both her skills as a photographer and her identity as a modern woman. "Bauhaus Girls" from 1928 is a series of photographs that captures the lives of women at the Bauhaus. With this work, Arndt made a crucial contribution to documenting everyday life at the Bauhaus, especially that of the women who had to balance their studies with daily life while simultaneously defying societal conventions. These included fellow Bauhaus students such as Otti Berger, Lou Scheper-Berkenkamp, Alma Siedhoff-Buscher, Margarete Heymann, and Anni Albers, to name just a few. Arndt was not only one of these women, but she was also seeking a place to work after marrying the architect and Bauhaus master Alfred Arndt in 1927 and moving with him into one of the Bauhaus Masters' Houses in Dessau.

The era of flight (1933-1945)

As early as the late 1920s, Arndt had made a name for herself as a photographer, specializing in depictions of women and their role in society. Her creative flow was abruptly interrupted when the Bauhaus was closed in 1933 following the Nazi takeover. Arndt, whose work was classified as degenerate, fled to Sweden with her husband and daughter Alexandra, who had been born in 1931. Her son Hugo was born there in 1937. In Sweden, she managed to continue her photographic work and also became involved in the local art scene.

Second half of life and inheritance (1945-2000)

Arndt ultimately put this experience to good use after the end of the Second World War, when she returned to Germany with her husband and spearheaded the reconstruction of artistic institutions. In 1946, she created the photograph "Trümmerfrauen" (Rubble Women), which documents the difficult post-war period and the role of women in the reconstruction.

Teacher and mentor

In 1948, the couple and their two children moved from the Soviet occupation zone to Darmstadt in Hesse, where Arndt focused on introducing art to younger generations. Her legacy thus encompasses not only her weaving and photographic works, but above all her influence as a teacher and mentor to emerging artists. Alongside her teaching activities, Arndt continued her artistic career in the post-war years. Until her death on July 10, 2000, in Darmstadt, the 96-year-old Gertrud Arndt remained connected to art and a part of the German art scene.