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Born in Berlin. Krantz studied drawing and then entered the school of higher education for the textile and clothing industry in his hometown; he took the specialisation course by Walther Kampmann, a member of the “November Group”—created in 1918 with the aim of supporting the social revolution and whose exhibitions included contributions from Marc Chagall, El Lissitzky, Goerges Braque, Fernand Léger and others and was liquidated by the Nazis—and also studied at the municipal school of Applied Arts. In 1923 and 1924, the artist studied at the Bauhaus in Weimar: theory of materials and assembly with Laszlo Moholy-Nagy, theory of colours with Wassily Kandinsky and Paul Klee, and natural drawing with the latter. Krantz started designing textiles. Between 1925 and 1930, he worked on his own as a graphic artist; he joined different groups of artists—as a guest in the November Group—and in his exhibitions. In 1930 he took part in the German Architecture Exhibition. In 1933 the Nazi regime forbade him from exhibiting. In 1936 the artist went to London, where he worked as Moholy Nagy’s assistant. After 1937 he was back in Berlin and worked as a graphic artist in official offices; in 1938 he was called to the Generalbauinspektion by Erich Böckler, a disciple of Heinrich Tessenow. From 1938 to 1944, his work was featured in the architecture magazine Die Baukunst. In 1942 Krantz collaborated with Rudolf Wolters (Speer’s Ministry) in the project for the remodelling of Berlin promoted by Hitler; he traced the “North-South Axis”. In 1945 all the works he had in his studio were destroyed in the Berlin bombings. After 1946 he was a teacher and draftsman in various German cities, subsequent to 1954 often independently; he took part in numerous exhibitions and lived in different places.

A painter and architectborn in Vockenhausen (Germany). Michel was a pilot in World War I, but in 1917 he crashed and was sent to a military hospital in Weimar, where he settled and became an independent artist in 1919 and in whose school of Fine Arts he met his wife, the photographer Ella Bergmann. His collages and drawings were influenced by the Bauhaus, and he soon became interested in mechanical images. The artist did not, however, join the Bauhaus because Gropius seemed too doctrinal to him; in 1920 he returned to his hometown and remained there until shortly before his death. Michel exhibited with El Lissitzky and Kurt Schwitters in Nassau and Wiesbaden, and he travelled to the Netherlands with them in 1927. The artist took part in exhibitions

Born in Latvia, near Ruiena, in 1912 he began studying at the Art School of Riga and then in Petrograd. In 1917 Klutsis enlisted in the Latvian Regiment and went to Moscow with the government; there he made sketches of Lenin and his companions in a Cubist-inspired style, and designed posters and decorations for 1 May 1918. That same year the artist studied with Vladimir Mashkov and then in the Second Free Art Studios with Konstantin Korovin, Kazimir Malevich and later, Antoine Pevsner. In 1920 he exhibited with Naum Gabo and Pevsner, and that same year and the following year with Malevich in Vitebsk and Moscow. Klutsis also joined the Communist Party in 1920 and graduated from the VKhUTEMAs in 1921. He claimed to have left abstract art for analytical and propaganda art in 1920–1921. After going through a Suprematist phase, he adopted a more Constructivist attitude towards form and material. In 1922 the artist applied his designs to utilitarian purposes in a series of propaganda and radio booths to celebrate the fifth anniversary of the Revolution. In 1923, together with Senkin, he proposed the creation of the Revolution Workshop to train propagandist and

Born in Den Helder (the Netherlands). An architect, painter, and graphic artist, twin brother of Anton Franciskus Pieck, also a painter and graphic artist. In the 1930s, he worked as an agent of Soviet intelligence; during World War II, the artist was a member of the Dutch Resistance; arrested by the Nazis, he was sent to a detention centre and later to Buchenwald.

One of the protagonists of the Belgian avant-garde, Servranckx was born in Diegem (Belgium) and studied at the Académie Royale des Beaux-Arts (Brussels), where he graduated in 1917 with the highest distinction and met Karel Maes, Pierre-Louis Flouquet, Marcel-Louis Baugniet, and René Magritte. Between 1917 and 1919, he developed Symbolism. From 1917 the artist took part in various group exhibitions; in 1918, together with Magritte, he developed applied arts as a designer for Peters-Lacroix’s wallpaper factory, an experience that led him from Fauvism to geometric abstraction. In 1920 he joined the La plastique pure movement. In 1922 Servranckx co-founded the magazine 7 Arts and with Magritte wrote the manifesto L’art pur: Défense de l’estéthique, influenced by Le Corbusier, Amédée Ozenfant and Pierre Reverdy’s cubist theories. Inspired by Baumeister and purists, the artist abandoned figuration for abstraction; he geometrically evoked the world of machine and technology. In 1918 he exhibited his work for the first time at l’Effort Moderne, a meeting place for Cubists since World War II; there, the artist met Filippo Tommaso Marinetti, Theo van Doesburg, Fernand Léger, and Marcel Duchamp. In 1926, thanks to Duchamp, he participated in the exhibitions of the Katherine Dreyer Corporation in America and was invited by Moholy-Nagy to teach at the New Bauhaus in Chicago, an offer he refused. Servranckx received a gold medal at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (Paris, 1925). In 1926 the artist created the first “surrealist” and “organic” abstractions, before Ernst. In 1928 he exhibited at Der Sturm. He represented Belgium at the 1948 and 1954 Venice Biennials. The Palais des Beaux-Arts in Brussels organised a major retrospective; his works can be seen in MoMA, the Berardo Collection (Lisbon), the Museo Thyssen-Bornemisza (Madrid), the Museum voor Schone Kunsten (Ghent), the Musée National d’Art Moderne of the Centre national d’art et de culture Georges Pompidou (Paris),and the Musées Royaux des Beaux-Arts de Belgique (Antwerp and Brussels). His paintings, sculptures and works on paper have been exhibited in museums such as Lakenhal (Leiden) and Tate Modern (London).

Born in Dortmund, Hoetger was a sculptor, painter, and artisan in the Expressionist movement. The artist studied sculpture in Detmold and, after spending some time at the Staatliche Kunstakademie (Düsseldorf), he made a trip to Paris, where he was influenced by Auguste Rodin and had the opportunity to experience the work of Antoni Gaudí. Starting in 1911, he stayed at the Darmstadt artists’ colony for a while. In 1914 he moved to Worpswede. He began working for the businessman Ludwig Roselius, an ardent Nazi, and produced his masterpiece the Böttcherstrasse in Bremen in an Expressionist style, followed by the HAG-Turm (Cologne). He also sympathised with the Nazis and became a party member, but Hitler declared the Böttcherstrasse “decadent”; the artist was expelled from the party and fled to Switzerland, where he died.

Architect and furniture designer born in Utrecht and renowned for his application of the principles of De Stijl. Rietveld was an apprentice in his father’s cabinetmaking business and then studied architecture in Utrecht. He joined De Stijl in 1918; during that time, he created his famous red and blue armchair which, with the insistence on geometry and use of colour, put the guidelines of this movementinto practice; so did his design—one of the first examples applied to architecture—of a small jewellery shop in Amsterdamin 1921. His masterpiece is the Schroeder House (Utrecht, 1924), which stands out for its interrelation of right-angled forms, planes, and lines,as well as for its use of primary colours. His relationship with De Stijl continued until the group was dissolved in 1931. From 1936 until the end of World War II, the artist devoted himself to furniture design. After 1945 he received important architectural commissions, such as the De Ploeg textile factory (1956) in Bergreik, a housing development (1954–1956) in Hoograven, and the art academy (1962) in Arnhem.

Born in Plenitz (Moravia), he is an architect whose work was important in the early development of modern architecture in Europe. He studied with Otto Wagner in Vienna and in 1899 he joined the founding of the Viennese Secession, more modernist than Wagner’s approaches. Since 1899 he has taught at the Universität für angewandte Kunst (Vienna) and in 1903 he participated in the creation of the Viennese Werkstätte, a center that he directed for 30 years. From its first period, the Purkersdorf Sanatorium stands out; His masterpiece is the Stoclet House (Brussels), whose exterior has monumental elegance. He designed the Austrian pavilions for the Deutscher Werkbund exhibition in Cologne (1914) and the Venice Biennale in 1934. In 1920 he was appointed municipal architect of Vienna and in 1924 and 1925 he carried out various house projects for the city.
Work done in collaboration with Koloman Moser.

Born in Paris; In 1910 the family went to Brussels, where he studied with Constant Montald and Gisbert Combaz at the Académie royale des beaux-arts. He is related to the avant-garde artists of Antwerp, Berlin, Brussels, Lausanne and Paris; Shares a studio with Agritte in Brussels. In modernist circles he is known for his abstractions and biomorphic and geometric works. In 1921 he participated in the International Exhibition of Modern Art in Geneva and, with Magritte, at the Center d’Art (Brussels). He is co-founder of the avant-garde group 7 Arts; He is responsible for the painting section of his magazine and its illustrator. With Eisenstein, Ernst, Gropius, Schlemmer, Servranckx and others he is a regular guest at the Maison des Artistes of Baroness Hélène de Mandrot, at her Château de La Sarraz (near Lausanne), where the First International Congress of Modern Architecture was held. the First Independent Cinema Congress in 1929 and many other revolutionary artistic manifestations at the beginning of the century. Hélène de Mandrot, like Katherine Dreier and Gertrude Stein, is one of the pillars of modern art. In 1925, Flouquet founded the L’Assaut group with Gailliard and organized exhibitions under their aegis. Becoming the leader of La Plastique Pure, he regularly exhibits abroad: Buenos Aires, Chicago, Leipzig, Madrid, Monza, New York, Paris, Philadelphia and Zurich; solo, in 1925 at the Der Sturm gallery and in 1927 at the Deutsche Werkbund in Stuttgart, founded by Henry van de Velde, who invited him. He designed many covers for the revolutionary art magazine Der Sturm. His work is represented in the Musées royaux des Beaux-Arts de Belgique (Brussels and Antwerp), Museum voor Schone Kunsten (Ghent) or Musée de Grenoble; It has been exhibited at the Stedelijk Museum Lakenhal (Leiden), Ghent and the Tate Modern (London) among others.

One of the protagonists of the Belgian avant-garde, he was born in Diegem (Belgium) and studied at the Académie royale des beaux-arts (Brussels), where he graduated in 1917 with the highest qualifications and met Maes, Flouquet, Baugniet and Magritte. Between 1917 and 1919 he cultivated symbolism. Since 1917 he has participated in various group exhibitions; In 1918, together with Magritte, he cultivated the applied arts as a designer for the Peters-Lacroix wallpaper factory, an experience that led him to move from Fauvism to geometric abstraction. In 1920 he joined the La Plastique Pure movement. In 1922 he co-founded the magazine 7 Arts and with Magritte wrote the manifesto L’art pur. Défense de l’estéthique, influenced by Le Corbusier, Ozenfant and Reverdy’s cubist theories. Inspired by Baumeister and the purists, he abandons figuration for abstraction; geometrically evokes the world of machines and technology. In 1918 he exhibited his work for the first time at l’Effort Moderne, a meeting place for Cubists since World War I; There he met Marinetti, Van Doesburg, Léger and Duchamp. In 1926, thanks to Duchamp, he took part in the exhibitions of the Katherine Dreyer Joint Stock Company in America and was invited by Moholy-Nagy to teach at the New Bauhaus (Chicago), an offer he rejected. He received a gold medal at the International Exhibition of Decorative and Industrial Arts (Paris, 1925). In 1926 he created the first “surreal” and “organic” abstractions, before Ernst. In 1928 he exhibited at Der Sturm. He represented Belgium at the Venice Biennales of 1948 and 1954. The Palace of Fine Arts (Brussels) organized a major retrospective; There are his works in the MoMA, Berardo collection (Lisbon), Thyssen-Bornemisza Museum (Madrid), Museum voor Schone Kunsten (Ghent), Center national d’art et de culture Georges Pompidou (Paris) or Musées royaux des Beaux-Arts de Belgique (Antwerp and Brussels). Their

Belgian painter, poet and art critic born in Termonde (Belgium). Studying at the Koninklijke Academie voor Schone Kunsten (Brussels), he met Victor Servranckx, who taught him the principles of non-figurative art. At the age of 15, the artist joined the Belgian avant-garde group 7 Arts. His early revolutionary works include Constructivist assemblages and non-figurative paintings meticulously balanced in solemn and subtle harmonies of colour, prefiguring those of Mark Rothko. In 1925 Eemans began to move away from non-figurative art and became Belgium’s first Surrealist painter, before René Magritte. Exhibiting with Salvador Dalí, he also became friends with members of the Societé du Mystère, a Belgian Surrealist group. His paintings from this period are inspired by the spiritual qualities of the Pre-Raphaelites, the German Romantics, and the Symbolists. In 1939 he exhibited in the Indépendants at the Stedelijk Museum (Amsterdam). Since then, his works have been exhibited in many places, including the Museum voor Schone Kunsten (Ghent) and the Solomon R. Guggenheim Museum (New York). As a poet and writer, the artist collaborated with the Surrealist magazine Distances, which was managed in Paris by Camille Goeman, who was the first to deal with Dalí’s work. Once at the heart of the ideological events of the Surrealist group, he decided to abandon it to develop his solo experiences, but remained friends with Camille Goemans, Magritte and E.L.T. Mesens. His work can be found in public collections such as those of the Musées Royaux des Beaux-Arts de Belgique (Brussels and Antwerp).

Born in Hessle (Yorkhire, England). An architect and designer, his work influenced Europe from 1890 to 1910 and was a source of inspiration for Art Nouveau. Rejecting any classical teaching of architecture, he became a disciple of Pugin and Ruskin. Voysey applied his theories to the design of simple, well-built houses. The artist was interested in every little detail, and his accessory designs were heavily copied. In 1880 he began working as an assistant for George Devey, the eminent country house designer, and by 1882 he opened his own studio in London. The artist soon succeeded as a designer, creating wallpapers and fabrics that reflect the influence of Arthur Mackmurdo and William Morris. His fame grew rapidly and, in 1895, his work was already well-known through British and European magazines. After 1914, Voysey no longer designed any important buildings, but his contribution was recognised by his appointment as Royal Designer for Industry in 1939 and a gold medal for architecture in 1940.

Born in London, he was a member of an Anglo-Italian family of writers; he himself was a painter and poet and, in 1848, he founded the Pre-Raphaelite Brotherhood, an artistic movement that idealised the Middle Ages. In his youth, Rossetti was an informal disciple of Ford Madox Brown, who transmitted to him his admiration for the Nazarenes, the German Pre-Raphaelites, and aimed to recover the purity of pre-Renaissance art along with William Holman Hunt, John Everett Millais, and others; he combined painting, poetry, and social idealism. The ritual and ornamentation of the Gothic period had a profound influence on him. In 1854 Rossetti found a powerful patron, art critic John Ruskin, but by then the group had broken apart. Later, with Edward Burne-Jones and William Morris, the artist began a second phase of the movement, marked by enthusiasm for a legendary past and the ambition to reform applied arts, advocating for the arts to include crafts. With Morris as their driving spirit, they designed stained-glass windows, bookbindings, wallpapers, embroidery, and furniture.

Born in Vienna. A designer and graphic artist, Moser produced graphics, stained glass, ceramics, porcelain, blown glass, ceramics, silverware, jewellery, furniture, and clothes. He studied at the Akademie der bildenden Künste and the Universität für angewandte Kunst(Vienna); he was inspired by the clear lines and repetitive motifs of Classical Greek and Roman Art as a reaction to the Baroque Viennese environment. In 1903, alongside Josef Hoffmann, the artist founded the Wiener Werkstätte, whose craftsmen produced household objects. In 1905, with Gustav Klimt’s group, he separated from the Secession of Vienna, and in 1907 from the Werkstätte.

Swiss expressionist painter, designer, teacher, writer, and theorist associated with the Bauhaus together with Lyonel Feininger and Gerhard Marcks, under the direction of Walter Gropius. Itten was born in Südern-Linden (Switzerland). His studies in Bern with Ernst Schneider proved seminal for his later work as a master at the Bauhaus. In 1912 the artist returned to Geneva, where he studied under Eugène Gilliard, an abstract painter. From 1919 to 1922, he taught at the Bauhaus and theorized seven types of colour contrast. In 1920 Itten invited Paul Klee and Georg Muche to join him at the Bauhaus. Itten was a follower of Mazdaznan, a fire cult largely derived from Zoroastrianism. His mysticism and the reverence in which he was held by a group of the students created conflict with Gropius, which led to Itten’s resignation from the Bauhaus and his prompt replacement by Laszlo Moholy-Nagy in 1923. His studies of colour palettes and colour interaction directly influenced the Op Art and other color-abstraction-based movements.

A visual artist and writer, Joostens was born in Antwerp and studied at the Koninklijke Academie voor Schone Kunsten. He created the first Dada collages and objects in 1916, three years before Kurt Schwitters, who is often regarded as the pioneer, and the first architectons around seven years before Kazimir Malevich. His assemblages in boxes, made of found materials, combine the formal austerity of Constructivism with the fantasy of Surrealism; he also produced vigorous post-Cubist and Futurist paintings. His first solo exhibitions were held in 1917 at the Centre Artistique in Antwerp and at the legendary Georges Giroux gallery (Brussels). As an Anarchist, along with Belgian Dadaists Paul Neuhuys and Willy Koninck, he criticised the established order. Joostens co-founded De bond zonder gezegeld papier together with Floris and Oscar Jespers and his friend Paul van Ostaijen, the great avant-garde poet. The artist also collaborated with Léonard in the magazines Sélection, Ça ira and Het Overzicht. From 1927 and during the 1930s, he moved away from the avant-garde and became a hermit. A strict Catholic, during that time Joostens created his “Gothic” style, inspired by the Flemish Primitives: paintings impregnated with religious mysticism and pubescent eroticism. In 1935 he created a magnificent series of photomontages. Before World War II, his painting featured hallucinatory and fantastic subjects. From 1946 until his death, feminine figures dominated his work, from the Virgin Mary to prostitutes from the working-class districts of Antwerp. His work can be found in museums such as the Koninklijk Museum voor Schone Kunsten (Antwerp and Brussels) and the Museum voor Schone Kunsten (Ghent); it has been exhibited at the Centre national d’art et de culture Georges Pompidou (Paris), Stedelijk Museum Lakenhal (Leiden) and Tate Modern (London). His last retrospective was presented in 2014 at the Mu.ZEE (Ostend). The Centre Georges Pompidou devoted an important chapter to Joostens in the catalogue for its Dadaexhibition.

Nace en Oberwiesenthal (Sajonia, Alemania). Estudia en la Academia de Dresde y luego en Berlín y Munich. Desde 1888 vive en San Francisco, Nueva York, Viena, Roma, Leipzig… Es editor, crítico de arte, editor e ilustrador; publica la revista mensual Quickborn. Desde 1900 se dedica al teatro. En 1912 se une a Der Sturm (en 1918 expondrá sus esculturas) y empieza a trabajar como director de cine con películas como Richard Wagner (1913) o Der Tunnel (1914-1915). Es conocido sobre todo por obras expresionistas como el busto monumental de Herwarth Walden, símbolo del radicalismo formal del modernismo alemán. En 1924 funda la Internationale Vereinigung der Expressionisten, Kubisten, Futuristen und Konstruktivisten, prohibida en 1933. En 1941 los nazis clasifican su arte como “degenerado” y se le prohíbe ejercer; no expondrá sus esculturas, pinturas y grabados hasta después de la guerra. Enseña en el centro de educación de adultos de Berlín Occidental y es miembro del consejo de administración de la Verband der Berliner Bildenden Künstler. En 2011 se presenta la muestra William Wauer und der Berliner Kubismus en el Georg Kolbe Museum (Berlín); en 2016, el Kunstmuseum de Berna lo incluye en Modern master: Degenerate art.